Modern Languages (School of)http://hdl.handle.net/10023/292018-03-15T13:07:20Z2018-03-15T13:07:20ZDominique Vivant Denon: Point de lendemain [No Tomorrow], 1777Ganofsky, Marinehttp://hdl.handle.net/10023/128942018-03-11T00:33:07Z2017-03-09T00:00:00Z2017-03-09T00:00:00ZGanofsky, MarineClaude Prosper Jolyot de Crébillon: Les égarements du cœur et de l’esprit [The Wayward Heart and Head], 1736-1738Ganofsky, Marinehttp://hdl.handle.net/10023/128932018-03-11T00:33:06Z2017-03-09T00:00:00Z2017-03-09T00:00:00ZGanofsky, MarineMalfunctioning music and the art of noise : the prepared pianos of Jules LaforgueEvans, Davidhttp://hdl.handle.net/10023/128822018-03-10T00:16:00Z2016-03-08T00:00:00ZWhile Laforgue criticism has explored the prominent role which music plays in his work, studies have focused on Les Complaintes and Derniers vers rather than his abandoned volume Le Sanglot de la Terre. This article suggests that Laforgue's later poetics of discord and dissonance already takes shape here: thematically, by subverting images of mechanical music such as the barrel organ, and formally, in the various dislocations which the poet inflicts on his verse. This malfunctioning music is read alongside wide-ranging evidence, in Laforgue's prose, notes and correspondence, of a notion of sound collage which demonstrates striking similarities with avant-garde musical experiments in the twentieth century by Russolo, Schaeffer or Cage, such as noise music and musique concrète. This aesthetics of explosion, decomposition and juxtaposition allows Laforgue to abandon previously secure hierarchies of beauty in favour of a modern, mobile idealism in which poetic value is unstable, dynamic and in constant process.
2016-03-08T00:00:00ZEvans, DavidWhile Laforgue criticism has explored the prominent role which music plays in his work, studies have focused on Les Complaintes and Derniers vers rather than his abandoned volume Le Sanglot de la Terre. This article suggests that Laforgue's later poetics of discord and dissonance already takes shape here: thematically, by subverting images of mechanical music such as the barrel organ, and formally, in the various dislocations which the poet inflicts on his verse. This malfunctioning music is read alongside wide-ranging evidence, in Laforgue's prose, notes and correspondence, of a notion of sound collage which demonstrates striking similarities with avant-garde musical experiments in the twentieth century by Russolo, Schaeffer or Cage, such as noise music and musique concrète. This aesthetics of explosion, decomposition and juxtaposition allows Laforgue to abandon previously secure hierarchies of beauty in favour of a modern, mobile idealism in which poetic value is unstable, dynamic and in constant process.Translanguaging: Claudio Giovannesi’s postcolonial practicesDuncan, Derek Egertonhttp://hdl.handle.net/10023/127552018-02-21T00:16:03Z2016-08-19T00:00:00ZClaudio Giovannesi’s Fratelli d’Italia (2009) is a documentary about the lives of three teenagers of non-Italian origins living in the Roman periphery. The third episode of the film features Nader, a second generation Italian–Egyptian and his conflicts both at school and in his family. Nader Sarhan starred in Giovannesi’s later Alì ha gli occhi azzurri (2012), a feature film whose plot was loosely inspired by the life in Ostia of his younger self. Giovannesi blurs the line between documentary and fiction by casting Nader as ‘himself’ (members of his family also appear in both films). This blurring can be seen as one example of ‘translanguaging’, a way of moving across linguistic and cultural systems which suggests their permeability. Practices of translanguaging allow a movement across the familiar binary logic of the bi-national, pointing to quotidian practices of cultural difference with no clear culture of origin nor host. Nader’s family’s move between Arabic and Italian as they constantly re-negotiate their cultural values. Giovannesi reworks the familiar defining link between territory and language, yet the films offer no celebratory account of multilingual and multi-ethnic Europe.
2016-08-19T00:00:00ZDuncan, Derek EgertonClaudio Giovannesi’s Fratelli d’Italia (2009) is a documentary about the lives of three teenagers of non-Italian origins living in the Roman periphery. The third episode of the film features Nader, a second generation Italian–Egyptian and his conflicts both at school and in his family. Nader Sarhan starred in Giovannesi’s later Alì ha gli occhi azzurri (2012), a feature film whose plot was loosely inspired by the life in Ostia of his younger self. Giovannesi blurs the line between documentary and fiction by casting Nader as ‘himself’ (members of his family also appear in both films). This blurring can be seen as one example of ‘translanguaging’, a way of moving across linguistic and cultural systems which suggests their permeability. Practices of translanguaging allow a movement across the familiar binary logic of the bi-national, pointing to quotidian practices of cultural difference with no clear culture of origin nor host. Nader’s family’s move between Arabic and Italian as they constantly re-negotiate their cultural values. Giovannesi reworks the familiar defining link between territory and language, yet the films offer no celebratory account of multilingual and multi-ethnic Europe.Broadcasting the self : autofiction, television and representations of authorship in contemporary French literatureHugueny-Leger, Elise Simone Mariehttp://hdl.handle.net/10023/127382018-02-18T00:16:14Z2017-01-01T00:00:00ZThis article examines the rise of autofiction as literary notion and cultural phenomenon in modern France. The past decades saw the rise of texts which not only challenge the convention of traditional autobiography and its reader-writer ‘pact’, but also integrate visual modes of representation in the fabric of the narrative, as tools and metaphors for the process of projection of the self that is autofiction. As television became an essential medium to promote and disseminate the figure of the intellectual in France, it has also been used as a tool to shape and manipulate the notion of authorship in life-writing. Drawing on examples including Duras’s televised performance and more recent texts by Beigbeder, Angot, Nothomb and Delaume, this article examines the use of the televised medium as site of contention for authors who have aptly exploited the potential of the small screen within and outside their textual productions. The conclusion asks if autofiction can be perceived as a literary equivalent of reality television.
This work was supported by a research grant from the Carnegie Trust for the Universities of Scotland which funded research at the Bibliothèque Nationale de France.
2017-01-01T00:00:00ZHugueny-Leger, Elise Simone MarieThis article examines the rise of autofiction as literary notion and cultural phenomenon in modern France. The past decades saw the rise of texts which not only challenge the convention of traditional autobiography and its reader-writer ‘pact’, but also integrate visual modes of representation in the fabric of the narrative, as tools and metaphors for the process of projection of the self that is autofiction. As television became an essential medium to promote and disseminate the figure of the intellectual in France, it has also been used as a tool to shape and manipulate the notion of authorship in life-writing. Drawing on examples including Duras’s televised performance and more recent texts by Beigbeder, Angot, Nothomb and Delaume, this article examines the use of the televised medium as site of contention for authors who have aptly exploited the potential of the small screen within and outside their textual productions. The conclusion asks if autofiction can be perceived as a literary equivalent of reality television.Performing the racial scale : from colonial Saint-Domingue to contemporary HollywoodPrest, Julia Tamsinhttp://hdl.handle.net/10023/126072018-01-26T00:16:21Z2017-01-01T00:00:00ZThis piece explores the notion of the racial scale in two performance contexts: first, in the theatres of the French Caribbean colony of Saint-Domingue in the eighteenth century, and second, in twenty-first-century Hollywood. The racial scale as conceived by the colonials in Saint-Domingue was a means of establishing and upholding a social hierarchy that was built on the dominance of white European master over the black African slave, but which had also to accommodate the ever-increasing numbers of free people of colour. One free woman of colour named Minette challenged the whiteness of the colonial stage by appearing in solo roles in a number of productions in Port-au-Prince throughout the 1780s. Her ability to move up the racial scale onstage is significant, though ultimately limited. Moving into the modern era, contemporary casting practices in Hollywood are examined in relation to a modern perception of the racial scale, often known as colourism. The controversy caused by the casting of Zoe Saldana as Nina Simone in a recent biopic reveals the complex politics of casting even ‘black’ actors in ‘black’ roles as perceptions of different shades of colour persist across different social groups.
2017-01-01T00:00:00ZPrest, Julia TamsinThis piece explores the notion of the racial scale in two performance contexts: first, in the theatres of the French Caribbean colony of Saint-Domingue in the eighteenth century, and second, in twenty-first-century Hollywood. The racial scale as conceived by the colonials in Saint-Domingue was a means of establishing and upholding a social hierarchy that was built on the dominance of white European master over the black African slave, but which had also to accommodate the ever-increasing numbers of free people of colour. One free woman of colour named Minette challenged the whiteness of the colonial stage by appearing in solo roles in a number of productions in Port-au-Prince throughout the 1780s. Her ability to move up the racial scale onstage is significant, though ultimately limited. Moving into the modern era, contemporary casting practices in Hollywood are examined in relation to a modern perception of the racial scale, often known as colourism. The controversy caused by the casting of Zoe Saldana as Nina Simone in a recent biopic reveals the complex politics of casting even ‘black’ actors in ‘black’ roles as perceptions of different shades of colour persist across different social groups.Glory and immortality : the motif of monumentum aere perennius by Samawʾal b. ʿĀdiyāʾDmitriev, Kirillhttp://hdl.handle.net/10023/125972018-02-15T15:30:25Z2017-01-01T00:00:00Z2017-01-01T00:00:00ZDmitriev, KirillThe Temptation of the Reader : The Search for Meaning in Boris Akunin's Pelagia TrilogyWhitehead, Claire Eugeniehttp://hdl.handle.net/10023/125132018-01-20T00:15:59Z2016-01-18T00:00:00ZThis article discusses the games that Boris Akunin’s Pelagia trilogy (2000-2003) plays with the reader’s attempts at interpretation and meaning-making. Most critics agree that detective fiction in this ‘whodunnit’ mode is a genre that invites the active participation of its reader in order to uncover a hidden truth. What Akunin’s trilogy does, however, is simultaneously to invite this participation and playfully frustrate it by thwarting or disrupting the reader’s various attempts at solving its puzzles. This article considers the ludic elements of Akunin’s trilogy in three different, though related, interpretive spheres: historical reference; intertextual and metatextual reference; and the search for faith. It concludes that the Pelagia trilogy is best viewed as an example of postmodernist metaphysical detective fiction, which poses provocative questions about the nature of knowledge, the status of meaning, as well as the act of reading.
2016-01-18T00:00:00ZWhitehead, Claire EugenieThis article discusses the games that Boris Akunin’s Pelagia trilogy (2000-2003) plays with the reader’s attempts at interpretation and meaning-making. Most critics agree that detective fiction in this ‘whodunnit’ mode is a genre that invites the active participation of its reader in order to uncover a hidden truth. What Akunin’s trilogy does, however, is simultaneously to invite this participation and playfully frustrate it by thwarting or disrupting the reader’s various attempts at solving its puzzles. This article considers the ludic elements of Akunin’s trilogy in three different, though related, interpretive spheres: historical reference; intertextual and metatextual reference; and the search for faith. It concludes that the Pelagia trilogy is best viewed as an example of postmodernist metaphysical detective fiction, which poses provocative questions about the nature of knowledge, the status of meaning, as well as the act of reading.Reversing the gaze : image and text in the public debate over Italian colonialismBond, Emma Franceshttp://hdl.handle.net/10023/124682018-03-15T10:40:18Z2017-09-28T00:00:00Z2017-09-28T00:00:00ZBond, Emma FrancesTranscending cinema : Kiarostami’s approach to filmmakingGhorban Karimi, Maryamhttp://hdl.handle.net/10023/124442018-01-09T00:15:32Z2018-01-01T00:00:00ZAs an artist, photographer and filmmaker, late Abbas Kiarostami continuously experimented with medium, style and storytelling throughout his long and fruitful career. I would like to argue that his filmmaking could be characterised by the osmosis of formalist and realist elements and the move beyond the restrictions of genre. Formalism emphasizes film’s potential as an expressive medium, and for formalists, film should not merely record and imitate what is before the camera, but using various techniques, it should also produce its own meanings at the same time. Realism, by contrast, emphasizes film as a medium that reproduces what is before the camera, and although film techniques are also important in realist films, they are not employed to produce meaning within the film. Realist film should speak for itself and allow the audience to draw their own conclusions. Bazin believed that realist cinema was a more democratic form of film since it did not manipulate the audience, and similarly, Kiarostami believed that the audience should not be captives of the filmmaker but be active participants. However, in his filmmaking he walked the fine line between formalism and realism. Kiarostami’s juxtaposition of realism and formalism is evident in both, his framing and his editing; be it in one of his aesthetically beautiful films such as “Where is the friend’s house?”, or in his use of fixed digital camera angles in “Ten”. This paper will look at how Kiarostami managed to work with elements of realist and formalist filmmaking at the same time to make films or “to get close to his subjects” to use his own words.
2018-01-01T00:00:00ZGhorban Karimi, MaryamAs an artist, photographer and filmmaker, late Abbas Kiarostami continuously experimented with medium, style and storytelling throughout his long and fruitful career. I would like to argue that his filmmaking could be characterised by the osmosis of formalist and realist elements and the move beyond the restrictions of genre. Formalism emphasizes film’s potential as an expressive medium, and for formalists, film should not merely record and imitate what is before the camera, but using various techniques, it should also produce its own meanings at the same time. Realism, by contrast, emphasizes film as a medium that reproduces what is before the camera, and although film techniques are also important in realist films, they are not employed to produce meaning within the film. Realist film should speak for itself and allow the audience to draw their own conclusions. Bazin believed that realist cinema was a more democratic form of film since it did not manipulate the audience, and similarly, Kiarostami believed that the audience should not be captives of the filmmaker but be active participants. However, in his filmmaking he walked the fine line between formalism and realism. Kiarostami’s juxtaposition of realism and formalism is evident in both, his framing and his editing; be it in one of his aesthetically beautiful films such as “Where is the friend’s house?”, or in his use of fixed digital camera angles in “Ten”. This paper will look at how Kiarostami managed to work with elements of realist and formalist filmmaking at the same time to make films or “to get close to his subjects” to use his own words.En defensa de la biografía : hacia una “historia total”. Un llamado a la nueva generación de historiadores del siglo XIX mexicanoFowler, Willhttp://hdl.handle.net/10023/124372018-03-11T00:33:18Z2017-12-19T00:00:00ZThe purpose of this essay is to highlight the importance of biography as a means to forging a “total history”. It defends the merits of biographical studies by emphasizing what it allows us to discover in terms of public, private, social, economic, legal, diplomatic, military and cultural history. Based on the success of a selection of recent biographies that have revolutionized the way the historiography has interpreted 19th century Mexico, together with a personal reflection by the author based on his experience as a biographer, this article aims to show how biography can be a particularly versatile vehicle for reviewing our knowledge of the past. This article concludes with a call to the new generation of academics interested in the history of 19th century history, urging them to make up for the current lack of biographies, and help us better understand –in a way only a biography can– the reasons behind the many forgotten events of the 19th century.
2017-12-19T00:00:00ZFowler, WillThe purpose of this essay is to highlight the importance of biography as a means to forging a “total history”. It defends the merits of biographical studies by emphasizing what it allows us to discover in terms of public, private, social, economic, legal, diplomatic, military and cultural history. Based on the success of a selection of recent biographies that have revolutionized the way the historiography has interpreted 19th century Mexico, together with a personal reflection by the author based on his experience as a biographer, this article aims to show how biography can be a particularly versatile vehicle for reviewing our knowledge of the past. This article concludes with a call to the new generation of academics interested in the history of 19th century history, urging them to make up for the current lack of biographies, and help us better understand –in a way only a biography can– the reasons behind the many forgotten events of the 19th century.‘Intoxicated geographies’: sites of refraction and fragmentation in Scipio Slataper’s Il mio Carso and Hermann Hesse’s Der SteppenwolfBond, Emma Franceshttp://hdl.handle.net/10023/124032018-01-02T00:31:44Z2016-01-01T00:00:00ZIl mio Carso and Der Steppenwolf both portray drinking scenes that make their protagonists reconsider their standing in relation to an increasingly fragmented modern world. Using Hubbard‘s ‘intoxicated geographies’ as an interpretative hinge, this article charts the effects of this embodied experience on the two texts. In both, the drinking lens functions as a revelatory device which highlights the transcendent liminality of modernist consciousness in various ways. By blurring the boundaries of social interaction, muddling awareness of time, and complicating notions of consciousness, the two drinking scenes allow a widening of perception that demands an analogous narrative re-positioning in response.
2016-01-01T00:00:00ZBond, Emma FrancesIl mio Carso and Der Steppenwolf both portray drinking scenes that make their protagonists reconsider their standing in relation to an increasingly fragmented modern world. Using Hubbard‘s ‘intoxicated geographies’ as an interpretative hinge, this article charts the effects of this embodied experience on the two texts. In both, the drinking lens functions as a revelatory device which highlights the transcendent liminality of modernist consciousness in various ways. By blurring the boundaries of social interaction, muddling awareness of time, and complicating notions of consciousness, the two drinking scenes allow a widening of perception that demands an analogous narrative re-positioning in response.Looking for post-traumatic growth in perpetrators of the 1994 genocide in Rwanda : a discussion of theoretical and ethical issuesBlackie, Laura E. R.Hitchcott, NickiJoseph, Stephenhttp://hdl.handle.net/10023/123252018-03-04T00:32:46Z2017-12-12T00:00:00ZThe theory of post-traumatic growth claims that, in the struggle to overcome difficult experiences, individuals may identify positive ways in which the experience has changed them. There is extensive evidence of survivors of extreme adversities reporting the phenomenon across different cultures. Although reconciliation involves facilitating positive changes in the identities of perpetrators, post-traumatic growth has not yet been studied in relation to perpetrators of political violence. In this theoretical review article, we draw upon existing research to evaluate the applicability of the concept of post-traumatic growth in the context of perpetrators of the 1994 Genocide against the Tutsi in Rwanda and discuss the unaddressed theoretical and ethical issues that need to be considered in this context. We conclude that it is feasible for post-traumatic growth to manifest in this population. However, we suggest that the current definition of this concept needs considerable revision including a focus on measuring behavioural change. We further conclude that researchers need to navigate this topic very carefully, given the ethical issues surrounding misrepresentation and inappropriate dissemination.
This publication was made possible through the support of a grant AH/M004155/2 from the Arts and Humanities Research Council.
2017-12-12T00:00:00ZBlackie, Laura E. R.Hitchcott, NickiJoseph, StephenThe theory of post-traumatic growth claims that, in the struggle to overcome difficult experiences, individuals may identify positive ways in which the experience has changed them. There is extensive evidence of survivors of extreme adversities reporting the phenomenon across different cultures. Although reconciliation involves facilitating positive changes in the identities of perpetrators, post-traumatic growth has not yet been studied in relation to perpetrators of political violence. In this theoretical review article, we draw upon existing research to evaluate the applicability of the concept of post-traumatic growth in the context of perpetrators of the 1994 Genocide against the Tutsi in Rwanda and discuss the unaddressed theoretical and ethical issues that need to be considered in this context. We conclude that it is feasible for post-traumatic growth to manifest in this population. However, we suggest that the current definition of this concept needs considerable revision including a focus on measuring behavioural change. We further conclude that researchers need to navigate this topic very carefully, given the ethical issues surrounding misrepresentation and inappropriate dissemination.Psychology, gender and EFL writing : a study of the relationship between Saudi students' writing performance and their attitudes, apprehension and self-efficacyAlluhaybi, Maramhttp://hdl.handle.net/10023/122702017-12-06T11:49:17Z2017-05-09T00:00:00ZIt has long been accepted in the field of EFL teaching and learning that writing in a
foreign language by learners is a complex practice that involves not only cognition, but
also psychology. With this in mind, in the present study, social-psychological and
social-cognitive research frameworks were adopted to explore the relationship between
the writing attitudes, apprehension and self-efficacy of Saudi learners of English, and
their writing performance, with a view to expanding the frontiers of current
scholarship. This relationship was investigated on two levels: that of writing in
general, and that of writing specific types of text. This relationship has been neglected
in previous research; in addition, the scope of past studies of Saudi students has been
limited to only one of the two traditional genders. The current study was designed to
contribute to filling these gaps.
The thesis consists of six chapters. Chapter One introduces the objectives, research
question, theoretical framework and background of the study. Chapter Two reviews the
related literature. Chapter Three describes the sample population, data collection and
procedures. Chapter Four deals with the data analyses. Chapter Five discusses the
findings and implications of the investigation. Chapter Six presents a summary and
conclusions.
The research found no correlation between psychological characteristics and writing
performance in general, nor between psychological characteristics and the writing of
narrative and persuasive text types, in particular. Overall, the results conflict with those
of previous studies, in that it was found that rather than psychological characteristics
influencing writing performance gender difference influenced writing performance,
and the psychological characteristics did not influence anything, it was the other way
round, gender difference also influenced psychological characteristics. This thesis thus
contributes to the growing body of knowledge in the field of EFL, by providing
evidence that the influence of psychological characteristics on writing is not salient in
every socio-cultural context, and that the writers’ gender can have an effect on their
writing performance.
2017-05-09T00:00:00ZAlluhaybi, MaramIt has long been accepted in the field of EFL teaching and learning that writing in a
foreign language by learners is a complex practice that involves not only cognition, but
also psychology. With this in mind, in the present study, social-psychological and
social-cognitive research frameworks were adopted to explore the relationship between
the writing attitudes, apprehension and self-efficacy of Saudi learners of English, and
their writing performance, with a view to expanding the frontiers of current
scholarship. This relationship was investigated on two levels: that of writing in
general, and that of writing specific types of text. This relationship has been neglected
in previous research; in addition, the scope of past studies of Saudi students has been
limited to only one of the two traditional genders. The current study was designed to
contribute to filling these gaps.
The thesis consists of six chapters. Chapter One introduces the objectives, research
question, theoretical framework and background of the study. Chapter Two reviews the
related literature. Chapter Three describes the sample population, data collection and
procedures. Chapter Four deals with the data analyses. Chapter Five discusses the
findings and implications of the investigation. Chapter Six presents a summary and
conclusions.
The research found no correlation between psychological characteristics and writing
performance in general, nor between psychological characteristics and the writing of
narrative and persuasive text types, in particular. Overall, the results conflict with those
of previous studies, in that it was found that rather than psychological characteristics
influencing writing performance gender difference influenced writing performance,
and the psychological characteristics did not influence anything, it was the other way
round, gender difference also influenced psychological characteristics. This thesis thus
contributes to the growing body of knowledge in the field of EFL, by providing
evidence that the influence of psychological characteristics on writing is not salient in
every socio-cultural context, and that the writers’ gender can have an effect on their
writing performance.A place for individuals : positive growth in RwandaGrayson, Hannah Louisehttp://hdl.handle.net/10023/122412018-02-11T00:32:00Z2017-01-01T00:00:00ZThis article introduces the Rwandan Stories of Change research project, and uses data collected jointly with the Aegis Trust to argue for the value of in-depth studies on individual Rwandans’ positive growth. It seeks to explore the place of individual growth in discussions of post-genocide Rwanda by examining the communitarian culture and policies of present day Rwanda. The article uses discourse analysis of a sample of testimonies to analyse indicators of individual growth alongside an assessment of collective resources (political, cultural and therapeutic) to ensure the broader cultural context of growth is attended to. The article investigates what connections might be found between community reconciliation processes and individual growth, and seeks to question how the two are related. Finally, the article argues that though individual stories are more difficult to locate and articulate, efforts must be made to facilitate their dissemination in order to provide a comprehensive, forward-looking discourse of post-genocide adaptation.
This work was supported by the Arts and Humanities Research Council grant AH/M004155/2.
2017-01-01T00:00:00ZGrayson, Hannah LouiseThis article introduces the Rwandan Stories of Change research project, and uses data collected jointly with the Aegis Trust to argue for the value of in-depth studies on individual Rwandans’ positive growth. It seeks to explore the place of individual growth in discussions of post-genocide Rwanda by examining the communitarian culture and policies of present day Rwanda. The article uses discourse analysis of a sample of testimonies to analyse indicators of individual growth alongside an assessment of collective resources (political, cultural and therapeutic) to ensure the broader cultural context of growth is attended to. The article investigates what connections might be found between community reconciliation processes and individual growth, and seeks to question how the two are related. Finally, the article argues that though individual stories are more difficult to locate and articulate, efforts must be made to facilitate their dissemination in order to provide a comprehensive, forward-looking discourse of post-genocide adaptation.Penser la guerre au XXIe siecleBraganca, ManuelBowd, Gavinhttp://hdl.handle.net/10023/122282018-01-07T03:38:02Z2015-01-01T00:00:00ZCe numéro était déjà sous presse quand, le 13 novembre 2015, Paris était une nouvelle fois la cible d’attentats terroristes d’une ampleur sans précédent, faisant plus d’une centaine de morts. Le Président François Hollande parla cette fois, de manière répétée, d’‘un acte de guerre’. Des voix solidaires se sont élevées des quatre coins de la planète, soulignant bien que, à travers la France, ce sont bien les valeurs qu’elle représente et qu’elle partage avec nombre de pays que les assassins de Daech visaient. Parmi tous les messages de solidarité, il nous semble important de souligner celui d’Hassan Rohani, le Président iranien, et celui d’Abdelaziz Bouteflika, le Président algérien: immédiatement, le premier ‘condamn[ait] avec vigueur ces crimes contre l'humanité et présent[ait] [s]es condoléance au peuple français endeuillé et au gouvernement’; le second dénonçait sans réserve ‘cette horreur planifiée [qui] constitue un véritable crime contre l'humanité’. Quant à Anouar Kbibech, le nouveau président du Conseil français du culte musulman, il ‘condamn[ait] avec la plus grande vigueur ces attaques inqualifiables’ et ‘appel[ait] à se regrouper autour de ces valeurs qui font la France’. Plus que jamais, il faut éviter les amalgames pour ne pas faire le jeu des minorités extrémistes.
2015-01-01T00:00:00ZBraganca, ManuelBowd, GavinCe numéro était déjà sous presse quand, le 13 novembre 2015, Paris était une nouvelle fois la cible d’attentats terroristes d’une ampleur sans précédent, faisant plus d’une centaine de morts. Le Président François Hollande parla cette fois, de manière répétée, d’‘un acte de guerre’. Des voix solidaires se sont élevées des quatre coins de la planète, soulignant bien que, à travers la France, ce sont bien les valeurs qu’elle représente et qu’elle partage avec nombre de pays que les assassins de Daech visaient. Parmi tous les messages de solidarité, il nous semble important de souligner celui d’Hassan Rohani, le Président iranien, et celui d’Abdelaziz Bouteflika, le Président algérien: immédiatement, le premier ‘condamn[ait] avec vigueur ces crimes contre l'humanité et présent[ait] [s]es condoléance au peuple français endeuillé et au gouvernement’; le second dénonçait sans réserve ‘cette horreur planifiée [qui] constitue un véritable crime contre l'humanité’. Quant à Anouar Kbibech, le nouveau président du Conseil français du culte musulman, il ‘condamn[ait] avec la plus grande vigueur ces attaques inqualifiables’ et ‘appel[ait] à se regrouper autour de ces valeurs qui font la France’. Plus que jamais, il faut éviter les amalgames pour ne pas faire le jeu des minorités extrémistes.Sacred or profane pleasures? Erotic ceremonies in eighteenth-century French libertine fictionGanofsky, Marinehttp://hdl.handle.net/10023/122272017-12-31T00:32:58Z2015-07-01T00:00:00ZIn France, the Age of Enlightenment was also an age of literary levity that saw a proliferation of erotic and pornographic narratives, where philosophy often fuses with sexual gratification. The famous Choderlos de Laclos with his Liaisons dangereuses (1782) and the infamous Marquis de Sade, along with authors such as Crébillon or Vivant Denon, epitomize this moment in French literary history, when erotic freedom paired with intellectual liberty. This “libertine” literature, as it is known, is characterized by its focus on fleshly desires and/or pleasures. The subject matter of libertine novels, short-stories, poems or paintings is the rendezvous which bring together the characters for an initiation into, or a celebration of, erotic delights. Indeed, love-making is often described as a religious ceremony. Why is this so? Why should lust be narrated with a religious lexicon? Why should lovers express rapture through an imagery normally associated with the Church? Why should fornication be orchestrated as a ritual? Behind the libertine representation of love-making as a religious ceremony is the unifying principle of the characters’ desire to transcend all limits. Through their blasphemy, they place themselves beyond society’s laws, beyond the word of God and beyond the limits normally prescribed to mortals. Their jouissance is described as an experience of infinity. On the one hand, one could argue that this effort to replace a form of worship (the Christian) with another, is but a sign of their eagerness to fill in the void left by the “disenchantment of the world”, as if the secularisation of the Enlightenment had left behind it an existential despair and a longing for new deities to worship, whether these be Reason, Nature or Pleasure. On the other hand, one could argue that through their blasphemous parodies of ceremonies, these libertine writers have seconded the Enlightenment’s enterprise of debunking the vacuity of religious discourses and practices. As ever with libertine literature and libertinism, the answer must be sought between, in their carelessness or, as Catherine Cusset would phrase it, in “la conscience ironique de ce rien” [the ironical consciousness of this nothingness]. If there is no God, then metaphysics is a blank page ready to be filled, just for pleasure’s sake, with an abundance of fabulous references ranging from Masonry through the parodied Christianity to Bacchanalia. For libertines, God may be dead, but not the enchantment of the religious.
2015-07-01T00:00:00ZGanofsky, MarineIn France, the Age of Enlightenment was also an age of literary levity that saw a proliferation of erotic and pornographic narratives, where philosophy often fuses with sexual gratification. The famous Choderlos de Laclos with his Liaisons dangereuses (1782) and the infamous Marquis de Sade, along with authors such as Crébillon or Vivant Denon, epitomize this moment in French literary history, when erotic freedom paired with intellectual liberty. This “libertine” literature, as it is known, is characterized by its focus on fleshly desires and/or pleasures. The subject matter of libertine novels, short-stories, poems or paintings is the rendezvous which bring together the characters for an initiation into, or a celebration of, erotic delights. Indeed, love-making is often described as a religious ceremony. Why is this so? Why should lust be narrated with a religious lexicon? Why should lovers express rapture through an imagery normally associated with the Church? Why should fornication be orchestrated as a ritual? Behind the libertine representation of love-making as a religious ceremony is the unifying principle of the characters’ desire to transcend all limits. Through their blasphemy, they place themselves beyond society’s laws, beyond the word of God and beyond the limits normally prescribed to mortals. Their jouissance is described as an experience of infinity. On the one hand, one could argue that this effort to replace a form of worship (the Christian) with another, is but a sign of their eagerness to fill in the void left by the “disenchantment of the world”, as if the secularisation of the Enlightenment had left behind it an existential despair and a longing for new deities to worship, whether these be Reason, Nature or Pleasure. On the other hand, one could argue that through their blasphemous parodies of ceremonies, these libertine writers have seconded the Enlightenment’s enterprise of debunking the vacuity of religious discourses and practices. As ever with libertine literature and libertinism, the answer must be sought between, in their carelessness or, as Catherine Cusset would phrase it, in “la conscience ironique de ce rien” [the ironical consciousness of this nothingness]. If there is no God, then metaphysics is a blank page ready to be filled, just for pleasure’s sake, with an abundance of fabulous references ranging from Masonry through the parodied Christianity to Bacchanalia. For libertines, God may be dead, but not the enchantment of the religious.Discordant harmonies and turbulent serenity : the ecopoetic rhythms of nature's - and art's - resistanceEvans, David Elwynhttp://hdl.handle.net/10023/122152018-01-07T03:32:30Z2015-11-30T00:00:00ZThis article argues that the poetic and critical writings of Théodore de Banville represent a concerted and successful attempt to give the natural world an independent voice in literature. Ecocriticism calls for creative practices and reading strategies that refuse to see humankind as separate from nature, and allow it to resist any colonizing gestures that might presume to speak on its behalf. While the poetry of Lamartine, Hugo, Vigny and Leconte de Lisle features nature throughout, its ecopoetic potential is weakened by simplistic urban/rural oppositions that construct a nostalgic idyll as a refuge from industry, progress and society. Banville, however, places humankind at the heart of a nature pulsating with the restless energy of animistic spirits. Nature, for him, shares with genuine art an unassimilable quality. His writings on painting and poetry express this irreducible essence through interart analogies and oxymoron, while the verse of Les Exilés consistently places natural phenomena at points of tension between traditional cultural forms and a rebellious, unpredictable syntax.
2015-11-30T00:00:00ZEvans, David ElwynThis article argues that the poetic and critical writings of Théodore de Banville represent a concerted and successful attempt to give the natural world an independent voice in literature. Ecocriticism calls for creative practices and reading strategies that refuse to see humankind as separate from nature, and allow it to resist any colonizing gestures that might presume to speak on its behalf. While the poetry of Lamartine, Hugo, Vigny and Leconte de Lisle features nature throughout, its ecopoetic potential is weakened by simplistic urban/rural oppositions that construct a nostalgic idyll as a refuge from industry, progress and society. Banville, however, places humankind at the heart of a nature pulsating with the restless energy of animistic spirits. Nature, for him, shares with genuine art an unassimilable quality. His writings on painting and poetry express this irreducible essence through interart analogies and oxymoron, while the verse of Les Exilés consistently places natural phenomena at points of tension between traditional cultural forms and a rebellious, unpredictable syntax.Journeys beyond binaries : storytelling and polyphony in the narratives of Gabriella Ghermandi, Igiaba Scego, Ubax Cristina Ali Farah and Amara LakhousPrisco, Mariohttp://hdl.handle.net/10023/119472017-10-30T14:23:02Z2015-10-01T00:00:00ZIn the last two decades, in media and political discourses, Italianness has been increasingly represented as a homogeneous and compact entity, which is intruded on and contaminated by immigrants. In this study, the binary opposition between Italians and migrants is investigated from the perspective of writers who inhabit a liminal space, between at least two cultures, with the main intent to problematize the binary itself and to show its nature of fabrication. On the basis of Said’s contrapuntal method, the novels by Ghermandi, Scego, Ali Farah and
Lakhous are thought to establish a counterpoint with dominant discourses about Italianness.
With the firm belief that discourses about postcolonial Italy must address its colonial past, the works analysed are considered as in dialogue with both colonial and postcolonial discourses.
A dialogical relation is established, within the study, between Ghermandi’s Regina di
fiori e di perle and Flaiano’s Tempo di uccidere. Written from the perspectives of the colonized and the colonizers respectively, both novels unveil colonial crimes and faults in Ethiopia, thus being counter-narratives about official representations of Italian colonialism. In
Scego’s Rhoda and Oltre Babilonia and Ali Farah’s Madre piccolo, like threads, the individual stories of Somali exiles intertwine to create a fabric, whose pattern reveals the importance of the legacy of colonialism within contemporary Italy. Mainly situated between Italian and Somali cultures, the protagonists experience traumas, suffering and loss but finally attain a contrapuntal awareness between the two cultural poles. They become conscious of how enriching their in-between position is; they affirm the value of their hybrid identity. With a further zoom into postcolonial Italy, Lakhous’ Scontro di civiltà per un ascensore a piazza Vittorio and Divorzio all’islamica a viale Marconi analyse the binary ‘us-Italians’ versus ‘thosemigrants’ in two microcosms in Rome. General polarizations such as Islam and the West emerge as factors which are exploited in order to exacerbate tensions and divisions. In addition, Italianness appears to be an internally fragmented entity, which is imagined as compact and homogeneous, as a reaction to the influx of immigrants. Against any logic of binarism, the novels by Ghermandi, Scego, Ali Farah and Lakhous reveal the constant effort to create a passage between two poles and to uphold a dialogical relation between them; crossings over and hybridity are continuously affirmed. With their highly important affirmation of multiplicity, the works challenge any essentializing notion of identity and any narrow representation of Italianness, within multiethnic contemporary Italy.
2015-10-01T00:00:00ZPrisco, MarioIn the last two decades, in media and political discourses, Italianness has been increasingly represented as a homogeneous and compact entity, which is intruded on and contaminated by immigrants. In this study, the binary opposition between Italians and migrants is investigated from the perspective of writers who inhabit a liminal space, between at least two cultures, with the main intent to problematize the binary itself and to show its nature of fabrication. On the basis of Said’s contrapuntal method, the novels by Ghermandi, Scego, Ali Farah and
Lakhous are thought to establish a counterpoint with dominant discourses about Italianness.
With the firm belief that discourses about postcolonial Italy must address its colonial past, the works analysed are considered as in dialogue with both colonial and postcolonial discourses.
A dialogical relation is established, within the study, between Ghermandi’s Regina di
fiori e di perle and Flaiano’s Tempo di uccidere. Written from the perspectives of the colonized and the colonizers respectively, both novels unveil colonial crimes and faults in Ethiopia, thus being counter-narratives about official representations of Italian colonialism. In
Scego’s Rhoda and Oltre Babilonia and Ali Farah’s Madre piccolo, like threads, the individual stories of Somali exiles intertwine to create a fabric, whose pattern reveals the importance of the legacy of colonialism within contemporary Italy. Mainly situated between Italian and Somali cultures, the protagonists experience traumas, suffering and loss but finally attain a contrapuntal awareness between the two cultural poles. They become conscious of how enriching their in-between position is; they affirm the value of their hybrid identity. With a further zoom into postcolonial Italy, Lakhous’ Scontro di civiltà per un ascensore a piazza Vittorio and Divorzio all’islamica a viale Marconi analyse the binary ‘us-Italians’ versus ‘thosemigrants’ in two microcosms in Rome. General polarizations such as Islam and the West emerge as factors which are exploited in order to exacerbate tensions and divisions. In addition, Italianness appears to be an internally fragmented entity, which is imagined as compact and homogeneous, as a reaction to the influx of immigrants. Against any logic of binarism, the novels by Ghermandi, Scego, Ali Farah and Lakhous reveal the constant effort to create a passage between two poles and to uphold a dialogical relation between them; crossings over and hybridity are continuously affirmed. With their highly important affirmation of multiplicity, the works challenge any essentializing notion of identity and any narrow representation of Italianness, within multiethnic contemporary Italy.François Villon in English : translation and cross-cultural poetic influencePascolini-Campbell, Clairehttp://hdl.handle.net/10023/118272017-10-10T15:52:19Z2014-01-01T00:00:00ZThis thesis argues that François Villon becomes a significant, but overlooked, influence in the tradition of English poetry, and that this influence reveals itself in translations, adaptations, and responses to his work. By focusing on the way in which numerous high profile poets in the United Kingdom and the United States have reacted to Villon, this study will posit that the reasons behind the appeal of his oeuvre as a source text lie both in the protean nature of his narrative voice and in the myth of his life. The inter-lingual intertextual relationships established through translation and the residue of Villon in English poetic tradition will be presented by means of five case studies, all taking the work of a specific poet as their theme: Algernon Charles Swinburne; Dante Gabriel Rossetti; Ezra Pound; Basil Bunting; and Robert Lowell. These five poets are presented as being exemplary of a greater tradition of translating Villon into English, and will take the reader from the first verse translations of his work in the nineteenth century, to postmodern adaptations and parodies of Villon in the twentieth. They will illustrate the specified intertextual relationships that exist both between source text and target text, and the work of one translator and another, thereby demonstrating the accumulation of influences at play in any one translation of this medieval French poet. In so doing, this thesis will also explore translation and adaptation as dialogical and transformative spaces, distinct from other genres in their ability to establish cross-cultural and interlingual intertexts. Translation and adaptation as spaces of cultural and linguistic hybridity will be demonstrated by observing some of the ways in which Villon has left his mark on English verse, and some of the Villons that anglophone poets have created in their turn.
2014-01-01T00:00:00ZPascolini-Campbell, ClaireThis thesis argues that François Villon becomes a significant, but overlooked, influence in the tradition of English poetry, and that this influence reveals itself in translations, adaptations, and responses to his work. By focusing on the way in which numerous high profile poets in the United Kingdom and the United States have reacted to Villon, this study will posit that the reasons behind the appeal of his oeuvre as a source text lie both in the protean nature of his narrative voice and in the myth of his life. The inter-lingual intertextual relationships established through translation and the residue of Villon in English poetic tradition will be presented by means of five case studies, all taking the work of a specific poet as their theme: Algernon Charles Swinburne; Dante Gabriel Rossetti; Ezra Pound; Basil Bunting; and Robert Lowell. These five poets are presented as being exemplary of a greater tradition of translating Villon into English, and will take the reader from the first verse translations of his work in the nineteenth century, to postmodern adaptations and parodies of Villon in the twentieth. They will illustrate the specified intertextual relationships that exist both between source text and target text, and the work of one translator and another, thereby demonstrating the accumulation of influences at play in any one translation of this medieval French poet. In so doing, this thesis will also explore translation and adaptation as dialogical and transformative spaces, distinct from other genres in their ability to establish cross-cultural and interlingual intertexts. Translation and adaptation as spaces of cultural and linguistic hybridity will be demonstrated by observing some of the ways in which Villon has left his mark on English verse, and some of the Villons that anglophone poets have created in their turn.On knowingness : irony and queerness in the works of Byron, Heine, Fontane, and WildeKling, Jutta Corneliahttp://hdl.handle.net/10023/118242017-10-10T13:20:13Z2014-09-01T00:00:00ZThis thesis identifies strategies of queer/irony in the writings of Lord Byron, Heinrich Heine, Theodor Fontane, and Oscar Wilde. Key to the understanding of irony is Friedrich Schlegel's re-evaluation of the concept. The thesis establishes an approach to the multifaceted concept of irony and identify key concepts of queer theory. The focus, however, is close reading. First, Lord Byron's epic satire Don Juan is read with regards to the interplay of narrative strategies and the depiction of gender, homoeroticism and the concept of the child. Furthermore, reviews published at the time of the publication of Don Juan are examined: Why did the reviewers reject the work so violently? Second, in Heine's Buch der Lieder we find ironic strategies that Richard Rorty subsumed into the concept of 'final vocabularies.' By acknowledging the formulaic nature of language in general and Romantic tropes in particular, Heine succeeds in subverting a heteronormative discourse on love and desire. Heine's Reisebilder – 'Die Reise von München nach Genua' and 'Die Bäder von Lucca' – depict the limits of queer/irony: Where meaning is fixed, as in the case of the Platen polemic, irony loses its propensity to contain multitudes. Third, Theodor Fontane's novels of adultery are read against the background of irony as established through a Schlegelian reading of Frau Jenny Treibel and a queer reading of Ellernklipp. The novels Unwiederbringlich and Effi Briest question notions of truth and map the danger of knowledge. At the core of this chapter lies the notion of 'knowledge management,' a strategy closely related to irony. The figure of the courtier Pentz in Unwiederbringlich becomes a harbinger of dangerous, queer knowledge similar to the way Crampas' use of Heine quotations negotiates sexually suggestive knowledge in Effi Briest. In a final step, the aforementioned queer/ironic strategies are employed to read texts by Oscar Wilde. Are the strategies as inferred in the other chapters valid for Wilde's writings as well? We find that, in a time where homoerotic behaviour was heavily sanctioned, ironic writing had become a liability. Wilde's ironies are too opaque for the reader: They have become a movement where nobody is allowed to 'play along.'
2014-09-01T00:00:00ZKling, Jutta CorneliaThis thesis identifies strategies of queer/irony in the writings of Lord Byron, Heinrich Heine, Theodor Fontane, and Oscar Wilde. Key to the understanding of irony is Friedrich Schlegel's re-evaluation of the concept. The thesis establishes an approach to the multifaceted concept of irony and identify key concepts of queer theory. The focus, however, is close reading. First, Lord Byron's epic satire Don Juan is read with regards to the interplay of narrative strategies and the depiction of gender, homoeroticism and the concept of the child. Furthermore, reviews published at the time of the publication of Don Juan are examined: Why did the reviewers reject the work so violently? Second, in Heine's Buch der Lieder we find ironic strategies that Richard Rorty subsumed into the concept of 'final vocabularies.' By acknowledging the formulaic nature of language in general and Romantic tropes in particular, Heine succeeds in subverting a heteronormative discourse on love and desire. Heine's Reisebilder – 'Die Reise von München nach Genua' and 'Die Bäder von Lucca' – depict the limits of queer/irony: Where meaning is fixed, as in the case of the Platen polemic, irony loses its propensity to contain multitudes. Third, Theodor Fontane's novels of adultery are read against the background of irony as established through a Schlegelian reading of Frau Jenny Treibel and a queer reading of Ellernklipp. The novels Unwiederbringlich and Effi Briest question notions of truth and map the danger of knowledge. At the core of this chapter lies the notion of 'knowledge management,' a strategy closely related to irony. The figure of the courtier Pentz in Unwiederbringlich becomes a harbinger of dangerous, queer knowledge similar to the way Crampas' use of Heine quotations negotiates sexually suggestive knowledge in Effi Briest. In a final step, the aforementioned queer/ironic strategies are employed to read texts by Oscar Wilde. Are the strategies as inferred in the other chapters valid for Wilde's writings as well? We find that, in a time where homoerotic behaviour was heavily sanctioned, ironic writing had become a liability. Wilde's ironies are too opaque for the reader: They have become a movement where nobody is allowed to 'play along.'Narrative and the body in uniform : East German military masculinities in Claus Dobberke’s Ein Katzensprung and Jürgen Fuchs’s FassonschnittSmith, Thomashttp://hdl.handle.net/10023/117812018-01-07T04:05:55Z2015-01-01T00:00:00ZThis article explores the relationship between body and uniform as one of two competing narratives of masculinity. Literature and film depicting the Nationale Volksarmee of East Germany (NVA) present uniform's narrative of ideal military masculinity in conflict with a second, apparently more natural narrative of masculinity written on the body. Claus Dobberke's 'Ein Katzensprung' (1976) and Jürgen Fuchs's 'Fassonschnitt' (1984) explore ways that the body might subvert the effects of uniform. Ultimately, however, these two works depict the uniform transforming body and psyche and unsettling existing narratives of masculinity, even disrupting the narrative text itself.
2015-01-01T00:00:00ZSmith, ThomasThis article explores the relationship between body and uniform as one of two competing narratives of masculinity. Literature and film depicting the Nationale Volksarmee of East Germany (NVA) present uniform's narrative of ideal military masculinity in conflict with a second, apparently more natural narrative of masculinity written on the body. Claus Dobberke's 'Ein Katzensprung' (1976) and Jürgen Fuchs's 'Fassonschnitt' (1984) explore ways that the body might subvert the effects of uniform. Ultimately, however, these two works depict the uniform transforming body and psyche and unsettling existing narratives of masculinity, even disrupting the narrative text itself.First impressions : Henry George Ward's Mexico in 1827Fowler, Willhttp://hdl.handle.net/10023/117032017-12-31T00:35:38Z2017-09-12T00:00:00ZHenry George Ward’s Mexico in 1827 (published in 1828) is one of the most exhaustive accounts of Mexico and its mining activities in the years following its independence from Spain. Written with a meticulous attention to detail it provided a unique first hand interpretation of both Mexico’s early governments’ achievements together with the not insignificant problems they had as yet to overcome. It highlighted the risks and opportunities Mexico presented potential British investors with an emphasis on the benefits of free trade, the need for patience, and how important it was to become meaningfully-acquainted with the country before investing in one or several ventures there. This study provides for the first time an analysis of Ward’s two volume survey-cum-travelogue. It shows how Ward’s cautiously optimistic appraisal faithfully reflected the short-lived hopes of Guadalupe Victoria’s 1824-29 government, providing a sympathetic account of the young republic that would prove anything but common in subsequent British representations of Mexico as the country’s inability to service the London debt and its ensuing instability went on to hinder British-Mexican relations for the greater part of the nineteenth century.
2017-09-12T00:00:00ZFowler, WillHenry George Ward’s Mexico in 1827 (published in 1828) is one of the most exhaustive accounts of Mexico and its mining activities in the years following its independence from Spain. Written with a meticulous attention to detail it provided a unique first hand interpretation of both Mexico’s early governments’ achievements together with the not insignificant problems they had as yet to overcome. It highlighted the risks and opportunities Mexico presented potential British investors with an emphasis on the benefits of free trade, the need for patience, and how important it was to become meaningfully-acquainted with the country before investing in one or several ventures there. This study provides for the first time an analysis of Ward’s two volume survey-cum-travelogue. It shows how Ward’s cautiously optimistic appraisal faithfully reflected the short-lived hopes of Guadalupe Victoria’s 1824-29 government, providing a sympathetic account of the young republic that would prove anything but common in subsequent British representations of Mexico as the country’s inability to service the London debt and its ensuing instability went on to hinder British-Mexican relations for the greater part of the nineteenth century.Interview: Algo más que un parqueLarre Borges, Ana Inéshttp://hdl.handle.net/10023/115682017-08-30T23:15:55Z2012-03-29T00:00:00ZGustavo San Román, investigador uruguayo radicado en Escocia, resultó el ganador del concurso internacional José Enrique Rodó, con un trabajo sobre la "Influencia y actualidad del pensamiento de José Enrique Rodó".* Brecha interrogó a San Román sobre la vigencia de Rodó.
2012-03-29T00:00:00ZLarre Borges, Ana InésGustavo San Román, investigador uruguayo radicado en Escocia, resultó el ganador del concurso internacional José Enrique Rodó, con un trabajo sobre la "Influencia y actualidad del pensamiento de José Enrique Rodó".* Brecha interrogó a San Román sobre la vigencia de Rodó.Translating the armed struggle : Alfonso Sastre and Sean O'Casey in SpainO'Leary, Catherinehttp://hdl.handle.net/10023/115052018-01-18T09:30:04Z2018-01-01T00:00:00ZThis article considers why the controversial Spanish playwright Alfonso Sastre, working within the constraints imposed by the Franco dictatorship (1939–75), chose to create versions of two plays by Sean O’Casey, an Irish dramatist who made his name in Dublin’s Abbey Theatre in the 1920s. It argues that Sastre’s adaptations of Red Roses for Me and The Shadow of a Gunman were his way of evading censorship and calling for political change in Spain, and thus constitute clear examples of translation as political activism and cultural resistance.
Research Funder: Arts and Humanities Research Council (AH/E007686/1).
2018-01-01T00:00:00ZO'Leary, CatherineThis article considers why the controversial Spanish playwright Alfonso Sastre, working within the constraints imposed by the Franco dictatorship (1939–75), chose to create versions of two plays by Sean O’Casey, an Irish dramatist who made his name in Dublin’s Abbey Theatre in the 1920s. It argues that Sastre’s adaptations of Red Roses for Me and The Shadow of a Gunman were his way of evading censorship and calling for political change in Spain, and thus constitute clear examples of translation as political activism and cultural resistance.In search of images : Uruguayan cinema, 1960-2010Tadeo Fuica, Beatrizhttp://hdl.handle.net/10023/114172017-12-05T10:01:53Z2014-01-01T00:00:00ZThis thesis investigates fifty years of Uruguayan cinema in order to revisit the
relationship between cinema and nation, at a time in which transnational flows are
putting into question the concept of nation and, more precisely, that of national
cinema. This investigation also contributes to current discussions on the changing
nature of cinema, generated by the fast adoption of digital technology and the
imminent disappearance of film stock. Through the case of Uruguay, I explore the
construction of national identity not only through the text, but also through the –
filmic, digital and/or analogue – materiality of film. This approach incorporates aspects
which are not usually studied together to contribute to the analysis of Uruguayan
cinema in a manner potentially applicable to other nations with similar characteristics;
that is to say, nations without an established film heritage and filmmaking tradition.
Informed by writings on film, cultural, historical and archival studies, this thesis
approaches films as ‘hybrid’ rather than ‘pure’ or ‘authentic’ texts and media. I argue
that both the text and materiality of films absorb, influence and reflect the dynamic
processes involved in the construction of national identity. Rather than seeking for
authenticity and homogeneity, this thesis stresses the necessity to focus on
discontinuity and diversity. Therefore, it analyses lost and under-researched short,
documentary, animation and institutional films and videos, alongside feature fiction
films.
First, I present a theoretical discussion on the relationship between nation and
cinema, the concept of hybridity in film studies, and the importance of technology for
production, preservation and access. This is followed by four chronological chapters in
which the hybrid text and materiality of films are analysed in contexts of social and
political upheaval; dictatorship, resistance and exile; transition; and neo-liberalism and
globalisation. This thesis demonstrates that the ties between cinema and nation have
not necessarily loosened in the global and digital age, and still deserve critical
attention.
2014-01-01T00:00:00ZTadeo Fuica, BeatrizThis thesis investigates fifty years of Uruguayan cinema in order to revisit the
relationship between cinema and nation, at a time in which transnational flows are
putting into question the concept of nation and, more precisely, that of national
cinema. This investigation also contributes to current discussions on the changing
nature of cinema, generated by the fast adoption of digital technology and the
imminent disappearance of film stock. Through the case of Uruguay, I explore the
construction of national identity not only through the text, but also through the –
filmic, digital and/or analogue – materiality of film. This approach incorporates aspects
which are not usually studied together to contribute to the analysis of Uruguayan
cinema in a manner potentially applicable to other nations with similar characteristics;
that is to say, nations without an established film heritage and filmmaking tradition.
Informed by writings on film, cultural, historical and archival studies, this thesis
approaches films as ‘hybrid’ rather than ‘pure’ or ‘authentic’ texts and media. I argue
that both the text and materiality of films absorb, influence and reflect the dynamic
processes involved in the construction of national identity. Rather than seeking for
authenticity and homogeneity, this thesis stresses the necessity to focus on
discontinuity and diversity. Therefore, it analyses lost and under-researched short,
documentary, animation and institutional films and videos, alongside feature fiction
films.
First, I present a theoretical discussion on the relationship between nation and
cinema, the concept of hybridity in film studies, and the importance of technology for
production, preservation and access. This is followed by four chronological chapters in
which the hybrid text and materiality of films are analysed in contexts of social and
political upheaval; dictatorship, resistance and exile; transition; and neo-liberalism and
globalisation. This thesis demonstrates that the ties between cinema and nation have
not necessarily loosened in the global and digital age, and still deserve critical
attention.The representation of male figures in the fiction of Irmtraud MorgnerStrauss, Wernerhttp://hdl.handle.net/10023/112892017-07-26T23:16:44Z2004-07-01T00:00:00ZThis study describes and analyses the treatment of male characters in the work of the East German author, Irmtraud Morgner. The main focus of the thesis is on Morgner’s handling of masculinity in relation to her treatment of the fantastic. Given that the majority of scholarship on Morgner concentrates on feminist aspects of her work, the aim of this thesis is to redress this imbalance by concentrating on the importance to her fictional narratives of male figures. The ways in which Morgner portrays her male characters shed significant new light on the function of the fantastic in her work. A detailed analysis of her texts shows that Morgner excludes all but a few of her male characters from the fantastic. By investigating the reasons for this, the thesis seeks to contribute to a better understanding of Morgner’s complex views on gender issues. The argument is advanced that Morgner’s treatment of her male characters and their interaction, or lack of interaction with the fantastic, reveals a more nuanced disillusionment with society than emerges from examinations of her female characters alone. Such a reading therefore permits a deeper and more differentiated understanding of her work.
2004-07-01T00:00:00ZStrauss, WernerThis study describes and analyses the treatment of male characters in the work of the East German author, Irmtraud Morgner. The main focus of the thesis is on Morgner’s handling of masculinity in relation to her treatment of the fantastic. Given that the majority of scholarship on Morgner concentrates on feminist aspects of her work, the aim of this thesis is to redress this imbalance by concentrating on the importance to her fictional narratives of male figures. The ways in which Morgner portrays her male characters shed significant new light on the function of the fantastic in her work. A detailed analysis of her texts shows that Morgner excludes all but a few of her male characters from the fantastic. By investigating the reasons for this, the thesis seeks to contribute to a better understanding of Morgner’s complex views on gender issues. The argument is advanced that Morgner’s treatment of her male characters and their interaction, or lack of interaction with the fantastic, reveals a more nuanced disillusionment with society than emerges from examinations of her female characters alone. Such a reading therefore permits a deeper and more differentiated understanding of her work.The ecological voice in recent German-Swiss proseListon, Andrew Adamshttp://hdl.handle.net/10023/112872017-08-03T23:16:49Z2005-03-01T00:00:00ZThis thesis seeks to investigate the ecological theme in German-Swiss prose of the last thirty years. The role of nature has understandably always been significant in Swiss literature. In a nation that has eked out its living, in such an impressive and violent landscape, there is of necessity a highly developed awareness of the environment. Furthermore, the close relationship between mankind and the environment is inherently ambiguous, with each acting alternately as curse and blessing to the other. The bond between people and geography is made all the more vital in the Alps, where existence is under the constant threat of avalanches and landslides. In light of this heightened environmental sensibility, it is unsurprising that, with the growing profile of ecological debate in general, Swiss writers should demonstrate an acute cognisance of the significance of ecological problems. The notion of an ecological voice takes the discussion further. The question is posed whether these works merely represent a reflection of societal concern for the environment, or whether literary responses may constitute solutions. This investigation therefore contributes both to literary criticism on Swiss writing and to the understanding of the role of conceptualisation in finding solutions to ecological problems. To explore and analyse these ideas, this thesis considers a representatively broad spectrum of differing responses to ecological crisis. It is not intended to be an exhaustive list of recent Swiss ‘Öko-Literatur’, but instead to be an investigation of the variety of narrative strategies employed in this period of growing ecological awareness.
2005-03-01T00:00:00ZListon, Andrew AdamsThis thesis seeks to investigate the ecological theme in German-Swiss prose of the last thirty years. The role of nature has understandably always been significant in Swiss literature. In a nation that has eked out its living, in such an impressive and violent landscape, there is of necessity a highly developed awareness of the environment. Furthermore, the close relationship between mankind and the environment is inherently ambiguous, with each acting alternately as curse and blessing to the other. The bond between people and geography is made all the more vital in the Alps, where existence is under the constant threat of avalanches and landslides. In light of this heightened environmental sensibility, it is unsurprising that, with the growing profile of ecological debate in general, Swiss writers should demonstrate an acute cognisance of the significance of ecological problems. The notion of an ecological voice takes the discussion further. The question is posed whether these works merely represent a reflection of societal concern for the environment, or whether literary responses may constitute solutions. This investigation therefore contributes both to literary criticism on Swiss writing and to the understanding of the role of conceptualisation in finding solutions to ecological problems. To explore and analyse these ideas, this thesis considers a representatively broad spectrum of differing responses to ecological crisis. It is not intended to be an exhaustive list of recent Swiss ‘Öko-Literatur’, but instead to be an investigation of the variety of narrative strategies employed in this period of growing ecological awareness."Let the memories begin". El álbum familiar de fotos y la autobiografía española contemporáneaFernandez Romero, Ricardohttp://hdl.handle.net/10023/112512018-03-04T01:39:10Z2017-05-01T00:00:00ZThis article explores the interactions between photography and self-writing in contemporary Spanish autobiography. Through the analysis of autobiographies by Carmen Martín Gaite and Paloma Díaz-Mas, the presence of the family album is revealed as a structural device and as an essential constituent of a dialogue between image and word that transcends the boundaries of Spanish autobiographical writing towards the constitution of experimental hybrid texts, or «imagetext», according to the concept created by W. J. T. Mitchell.
2017-05-01T00:00:00ZFernandez Romero, RicardoThis article explores the interactions between photography and self-writing in contemporary Spanish autobiography. Through the analysis of autobiographies by Carmen Martín Gaite and Paloma Díaz-Mas, the presence of the family album is revealed as a structural device and as an essential constituent of a dialogue between image and word that transcends the boundaries of Spanish autobiographical writing towards the constitution of experimental hybrid texts, or «imagetext», according to the concept created by W. J. T. Mitchell.The portrayal of childhood in German fiction from Keller to CarossaBerneaud, Jean Margarethttp://hdl.handle.net/10023/112102017-12-08T11:40:49Z1947-01-01T00:00:00ZThe middle of the 19th century marks a stage in the development of childhood portrayal in German literature. But to take Keller as a starting point rather than Gotthelf, is to recognize in the former the deliberate selectiveness of the artist, and the importance given by him to the whole period of childhood. The wealth of present-day literature dealing with children and childhood would seem to make the drawing of any line of demarcation something of an arbitrary matter. Yet the name of Carossa not only establishes a link with Keller in the poetic interpretation of childhood, but points to a culmination of artistic achievement within our own times.
1947-01-01T00:00:00ZBerneaud, Jean MargaretThe middle of the 19th century marks a stage in the development of childhood portrayal in German literature. But to take Keller as a starting point rather than Gotthelf, is to recognize in the former the deliberate selectiveness of the artist, and the importance given by him to the whole period of childhood. The wealth of present-day literature dealing with children and childhood would seem to make the drawing of any line of demarcation something of an arbitrary matter. Yet the name of Carossa not only establishes a link with Keller in the poetic interpretation of childhood, but points to a culmination of artistic achievement within our own times.Popular fiction in France and England, 1860-1875 : convention, irony and ambivalence in the novels of Paul Féval and Wilkie CollinsPicq, Elisabethhttp://hdl.handle.net/10023/111122017-07-06T12:39:58Z2000-01-01T00:00:00ZThis thesis is a comparative study of two popular nineteenth-century writers, Paul Feval and Wilkie Collins, and by extension, of their respective traditions, the Roman-Feuilleton and the Sensation novel. At the same time, the thesis seeks to provide new insight into the nature and function of
popular fiction as a genre.
This study argues that, contrary to common assumptions, popular fiction is a complex and dialogic form. As a comparative project, this thesis underscores similarities and differences between the two writers.
Chapter I looks at the narrative structures of the novels. It demonstrates that the use of archetypal story-patterns and characters leaves room for 'both thoughtful and ironically playful narrative experiments, resulting in a surprising degree of self-reflexivity.
Chapter Il emphasises the dialogic nature of the texts by examining the ways they evoke and rework different genres and registers. It argues that the mingling of tones and moods serves both to stimulate readers' pleasure and to convey criticism of contemporary society. Making use of Mikhaïl
Bakhtin's theories on popular culture, this section highlights the carnivalesque nature of the texts.
Chapter III addresses in detail the formal influence of the theatre on the two sets of texts and investigates the use of theatrical metaphors in the novels as a way to explore the workings of society.
Chapter IV sets out to redress common assumptions about the conservatism of Féval's narratives and the radical nature of Collins' novels by highlighting the existence of two contrary discourses, one manichean and conservative, the other rebellious and immoral.
Chapter V makes use of René Girard's theory of the scapegoat. By showing how the two discourses articulate around a scapegoat figure, it draws a parallel between the mechanisms of popular fiction and social mechanisms. Finally, this section argues that both Féval and Collins were aware of the ideological charge of the form they were using and of its limitations.
2000-01-01T00:00:00ZPicq, ElisabethThis thesis is a comparative study of two popular nineteenth-century writers, Paul Feval and Wilkie Collins, and by extension, of their respective traditions, the Roman-Feuilleton and the Sensation novel. At the same time, the thesis seeks to provide new insight into the nature and function of
popular fiction as a genre.
This study argues that, contrary to common assumptions, popular fiction is a complex and dialogic form. As a comparative project, this thesis underscores similarities and differences between the two writers.
Chapter I looks at the narrative structures of the novels. It demonstrates that the use of archetypal story-patterns and characters leaves room for 'both thoughtful and ironically playful narrative experiments, resulting in a surprising degree of self-reflexivity.
Chapter Il emphasises the dialogic nature of the texts by examining the ways they evoke and rework different genres and registers. It argues that the mingling of tones and moods serves both to stimulate readers' pleasure and to convey criticism of contemporary society. Making use of Mikhaïl
Bakhtin's theories on popular culture, this section highlights the carnivalesque nature of the texts.
Chapter III addresses in detail the formal influence of the theatre on the two sets of texts and investigates the use of theatrical metaphors in the novels as a way to explore the workings of society.
Chapter IV sets out to redress common assumptions about the conservatism of Féval's narratives and the radical nature of Collins' novels by highlighting the existence of two contrary discourses, one manichean and conservative, the other rebellious and immoral.
Chapter V makes use of René Girard's theory of the scapegoat. By showing how the two discourses articulate around a scapegoat figure, it draws a parallel between the mechanisms of popular fiction and social mechanisms. Finally, this section argues that both Féval and Collins were aware of the ideological charge of the form they were using and of its limitations.Visions of civil war and genocide in fiction from RwandaHitchcott, Nickihttp://hdl.handle.net/10023/111112018-01-31T15:30:14Z2017-06-01T00:00:00ZOn October 1, 1990, the Rwandan Patriotic Army invaded Rwanda from Uganda, thereby launching a civil war that was to last until the end of the 1994 genocide. While a number of fictional responses to the one-hundred-day genocide have appeared since 1994, very little fiction has been written in response to the civil war itself. This article discusses two little known novels written by Rwandan authors who engage specifically with the civil war: Aimable Twagilimana's 1996 novel, Manifold Annihilation, and Anicet Karege's Sous le déluge rwandais, published in 2005. While both authors have very different relationships with the events of 1994, they paint a similar picture of Rwanda in the early 1990s, which they both experienced firsthand. Through their fictional representations of Rwanda on the eve of genocide, they challenge the ill-informed, mythologized versions of the history of Rwanda that were so widespread in 1994 and continue to this day.
2017-06-01T00:00:00ZHitchcott, NickiOn October 1, 1990, the Rwandan Patriotic Army invaded Rwanda from Uganda, thereby launching a civil war that was to last until the end of the 1994 genocide. While a number of fictional responses to the one-hundred-day genocide have appeared since 1994, very little fiction has been written in response to the civil war itself. This article discusses two little known novels written by Rwandan authors who engage specifically with the civil war: Aimable Twagilimana's 1996 novel, Manifold Annihilation, and Anicet Karege's Sous le déluge rwandais, published in 2005. While both authors have very different relationships with the events of 1994, they paint a similar picture of Rwanda in the early 1990s, which they both experienced firsthand. Through their fictional representations of Rwanda on the eve of genocide, they challenge the ill-informed, mythologized versions of the history of Rwanda that were so widespread in 1994 and continue to this day.The fairy tale on the old Viennese stageCrosby, Claire Darrylhttp://hdl.handle.net/10023/109502017-07-11T12:10:20Z1987-01-01T00:00:00ZThe thesis deals with fairy tales on the Viennese stage and their narrative sources from the beginning of the eighteenth century to 1848.
In the introductory chapter a statistical analysis of fairy tales illustrates that while the Viennese were greatly under the influence of fairy tales published in other German-speaking lands, the fairy tale on the Viennese stage did not follow the trends of the fairy tale in German literature.
The first of the three main chapters discusses the dramatizations of the oriental fairy tales shown in Vienna. Raimund's Der Diamant des Geisterkönigs is one example. Wieland' s fairy tales provided the Viennese dramatists with a lot of
source material, not only of oriental origin, but even of Italian origin too.
The second main chapter analyses the sources of Vulpius’s Die Saal-Nixe and looks at the different works inspired by this typical Sage der Vorzeit, including Hensler's Das Donauweibchen and Grillparzer's Melusine. The theme of the white deer links these works with the oriental tale about Cheheristany and La
donna serpente, an Italian play by Gozzi which provided Raimund with material for Der Verschwender.
The third main chapter studies the close interaction of the French and German folk tales in literature and on the Viennesestage. The two examples chosen are the stories about Rübezahl and Fortunatus. Special attention is paid to Musäus who wrote stories about both these folk-tale figures and whose collection of folk tales was a popular source of dramatization. The failure of the Grimm Brothers to inspire Viennese dramatists is contrasted with the success of popular authors, such as Langbein.
The conclusion summarizes first the sources of Viennese fairy-tale dramas and secondly the similarities and differences between the fairy tale on the Viennese stage and in German literature. And finally the demise of the fairy tale
is examined.
1987-01-01T00:00:00ZCrosby, Claire DarrylThe thesis deals with fairy tales on the Viennese stage and their narrative sources from the beginning of the eighteenth century to 1848.
In the introductory chapter a statistical analysis of fairy tales illustrates that while the Viennese were greatly under the influence of fairy tales published in other German-speaking lands, the fairy tale on the Viennese stage did not follow the trends of the fairy tale in German literature.
The first of the three main chapters discusses the dramatizations of the oriental fairy tales shown in Vienna. Raimund's Der Diamant des Geisterkönigs is one example. Wieland' s fairy tales provided the Viennese dramatists with a lot of
source material, not only of oriental origin, but even of Italian origin too.
The second main chapter analyses the sources of Vulpius’s Die Saal-Nixe and looks at the different works inspired by this typical Sage der Vorzeit, including Hensler's Das Donauweibchen and Grillparzer's Melusine. The theme of the white deer links these works with the oriental tale about Cheheristany and La
donna serpente, an Italian play by Gozzi which provided Raimund with material for Der Verschwender.
The third main chapter studies the close interaction of the French and German folk tales in literature and on the Viennesestage. The two examples chosen are the stories about Rübezahl and Fortunatus. Special attention is paid to Musäus who wrote stories about both these folk-tale figures and whose collection of folk tales was a popular source of dramatization. The failure of the Grimm Brothers to inspire Viennese dramatists is contrasted with the success of popular authors, such as Langbein.
The conclusion summarizes first the sources of Viennese fairy-tale dramas and secondly the similarities and differences between the fairy tale on the Viennese stage and in German literature. And finally the demise of the fairy tale
is examined.Shelving books? : Representations of the library in contemporary textsHutton, Margaret-Annehttp://hdl.handle.net/10023/109002018-02-01T14:30:13Z2017-05-01T00:00:00ZEstablished for over two decades, archive studies have often conflated the archive and the library, leading to the theoretical neglect of the latter. Since the turn of the twenty-first century, however, critical and historical works on the library have been on the increase. At the same time, a body of fictional texts offers a very specific representation of the library in the digital age. The literary libraries discussed here – a sample published post-2000, drawn from seven national literatures and representing various genres – champion the codex and construct the library as an affective, nostalgic material space. Acknowledging the ubiquity of digitization whilst nonetheless eschewing a simplistic material/ digital binary, they rework familiar tropes such as the universal library, the library destroyed, and the library as a symbol or repository of cultural memory. Finally, these are spaces of (gendered) familial psychic dramas, tracing oedipal conflicts, family romances and troubled transgenerational legacies.
2017-05-01T00:00:00ZHutton, Margaret-AnneEstablished for over two decades, archive studies have often conflated the archive and the library, leading to the theoretical neglect of the latter. Since the turn of the twenty-first century, however, critical and historical works on the library have been on the increase. At the same time, a body of fictional texts offers a very specific representation of the library in the digital age. The literary libraries discussed here – a sample published post-2000, drawn from seven national literatures and representing various genres – champion the codex and construct the library as an affective, nostalgic material space. Acknowledging the ubiquity of digitization whilst nonetheless eschewing a simplistic material/ digital binary, they rework familiar tropes such as the universal library, the library destroyed, and the library as a symbol or repository of cultural memory. Finally, these are spaces of (gendered) familial psychic dramas, tracing oedipal conflicts, family romances and troubled transgenerational legacies.Edition and study (mostly linguistic) of a section of an Anglo-Norman translation of the Bible (14th century) : the Acts of the Apostles in MSS B.N. fr. 1 & 9562Ratcliff, Nora Elizabethhttp://hdl.handle.net/10023/107662017-05-12T16:18:24Z1955-01-01T00:00:00ZThis Edition and Study of the Acts of the Apostles was
undertaken with a view to throwing some fresh light on the
problems, linguistic and other, raised by the Anglo-Norman
Bible. Although quite often mentioned in books dealing with
mediaeval biblical translations, this version had not been
studied closely in any completed work, and yet seemed to deserve
attention. The existence in Paris of two manuscripts,
B.N. fr. 1 and 9562, containing Acts in this, version, at once
indicated this section for study, since it restricted the
main task of research on the original manuscripts to a single
place, while yet providing two manuscripts for comparison.
1955-01-01T00:00:00ZRatcliff, Nora ElizabethThis Edition and Study of the Acts of the Apostles was
undertaken with a view to throwing some fresh light on the
problems, linguistic and other, raised by the Anglo-Norman
Bible. Although quite often mentioned in books dealing with
mediaeval biblical translations, this version had not been
studied closely in any completed work, and yet seemed to deserve
attention. The existence in Paris of two manuscripts,
B.N. fr. 1 and 9562, containing Acts in this, version, at once
indicated this section for study, since it restricted the
main task of research on the original manuscripts to a single
place, while yet providing two manuscripts for comparison.A holistic sociolinguistic perspective on the grammarians and ouisme in the phonetic history of FrenchAnipa, K.http://hdl.handle.net/10023/106472018-01-23T11:30:07Z2017-04-01T00:00:00ZThis study investigates early-modern grammarians of French and their accounts of an intriguing and famous phenomenon called ‘ouisme’. The research targets a gap in the field, as ‘ouisme’ has remained, paradoxically, little investigated. Drawing on sociolinguistic principles, the evidence base for the phenomenon is expanded, by treating the grammarians as legitimate subjects of study; scrutiny of their sociolinguistic attitude and behaviour is made an integral part of the explanation and analysis of ‘ouisme’, a vibrant variant of a linguistic variable, whose usage is examined in a complex social context. The results are rewarding, in two main respects: on the one hand, a completely new understanding of the phenomenon, its usage and the terminology employed to characterize it; on the other hand, the methodology of focusing on the grammarians’ testimonies and sociolinguistic attitude and behaviour provides a potential template for future work on historical features of French and other languages.
2017-04-01T00:00:00ZAnipa, K.This study investigates early-modern grammarians of French and their accounts of an intriguing and famous phenomenon called ‘ouisme’. The research targets a gap in the field, as ‘ouisme’ has remained, paradoxically, little investigated. Drawing on sociolinguistic principles, the evidence base for the phenomenon is expanded, by treating the grammarians as legitimate subjects of study; scrutiny of their sociolinguistic attitude and behaviour is made an integral part of the explanation and analysis of ‘ouisme’, a vibrant variant of a linguistic variable, whose usage is examined in a complex social context. The results are rewarding, in two main respects: on the one hand, a completely new understanding of the phenomenon, its usage and the terminology employed to characterize it; on the other hand, the methodology of focusing on the grammarians’ testimonies and sociolinguistic attitude and behaviour provides a potential template for future work on historical features of French and other languages.Jean-Joseph Rabearivelo, Charles Maurras and colonial MadagascarBowd, Gavin Philiphttp://hdl.handle.net/10023/104902017-04-25T08:43:34Z2016-01-01T00:00:00ZJean-Joseph Rabearivelo (1903–1937) is widely considered to be the first major writer of la francophonie and as Madagascar’s national poet. His untimely death has been interpreted as an act of rebellion against French colonial rule. However, little attention has been given to his outspoken attachment to the ideas of Charles Maurras and the far right Action Française. This article explores Rabearivelo’s politics, his ambivalent relationship with colonial rule and the complexity of the identity politics expressed in his work.
2016-01-01T00:00:00ZBowd, Gavin PhilipJean-Joseph Rabearivelo (1903–1937) is widely considered to be the first major writer of la francophonie and as Madagascar’s national poet. His untimely death has been interpreted as an act of rebellion against French colonial rule. However, little attention has been given to his outspoken attachment to the ideas of Charles Maurras and the far right Action Française. This article explores Rabearivelo’s politics, his ambivalent relationship with colonial rule and the complexity of the identity politics expressed in his work.Tyranny and tragedy : paradigms of surveillance in Theodor Storm’s Aquis submersus and Carsten CuratorWhite, Michael Jameshttp://hdl.handle.net/10023/104032018-01-07T03:53:00Z2016-11-28T00:00:00ZTheodor Storm’s Novellen Aquis submersus (1876) and Carsten Curator (1878) stand out from other nineteenth-century representations of surveillance because of their intensity. Surveillance dominates the relationships between the principal characters, provides the driving force in the narrative action, and constitutes an essential mode of metaphorical expression. Aquis submersus documents an abuse of power: surveillance, in the control of correspondence and the use of informants, is the tool of a corrupt and petty aristocracy. Here, surveillance is depicted as a perverse evil, a transgression of natural justice that stands in the way of love. The text’s ending modifies this critique, however: Katharina’s child drowns as the lovers embrace, a fact that is interpreted and recorded in a painting as paternal negligence, making surveillance a moral duty that impedes the freedom of the observer as well as the observed. Carsten Curator explores surveillance failures in different ways. Carsten’s identity derives from guardianship, and it is his son’s forays outside the paternal field of vision that lead eventually to Heinrich’s death. Yet Carsten’s morality of surveillance is exposed as ideological and emotional self-control: a picture of Carsten’s father and Heinrich’s resemblance to his mother determine Carsten’s actions, functioning as absent observers whose imaginary surveillance Carsten both fears and craves.
2016-11-28T00:00:00ZWhite, Michael JamesTheodor Storm’s Novellen Aquis submersus (1876) and Carsten Curator (1878) stand out from other nineteenth-century representations of surveillance because of their intensity. Surveillance dominates the relationships between the principal characters, provides the driving force in the narrative action, and constitutes an essential mode of metaphorical expression. Aquis submersus documents an abuse of power: surveillance, in the control of correspondence and the use of informants, is the tool of a corrupt and petty aristocracy. Here, surveillance is depicted as a perverse evil, a transgression of natural justice that stands in the way of love. The text’s ending modifies this critique, however: Katharina’s child drowns as the lovers embrace, a fact that is interpreted and recorded in a painting as paternal negligence, making surveillance a moral duty that impedes the freedom of the observer as well as the observed. Carsten Curator explores surveillance failures in different ways. Carsten’s identity derives from guardianship, and it is his son’s forays outside the paternal field of vision that lead eventually to Heinrich’s death. Yet Carsten’s morality of surveillance is exposed as ideological and emotional self-control: a picture of Carsten’s father and Heinrich’s resemblance to his mother determine Carsten’s actions, functioning as absent observers whose imaginary surveillance Carsten both fears and craves.Irony as a way of life : Svevo, Kierkegaard and psychoanalysisBond, Emma Franceshttp://hdl.handle.net/10023/104002018-01-07T03:32:00Z2016-10-01T00:00:00ZDejected by decades of commercial and critical failure, the Triestine author Italo Svevo found fresh inspiration for his final novel (La coscienza di Zeno, 1923) in the writings of Freud. Yet critics have always puzzled over his declared intransigence toward his new master, often attributing this ambivalence to a simple defence mechanism. But what if Svevo had been reading other works simultaneously, works that challenged and exposed the weaknesses of psychoanalytic authority? As this article argues, Svevo’s recently discovered reading of Kierkegaard’s ‘existential irony’ sheds light on his conception of the power of both narrative and the analytical process itself.
2016-10-01T00:00:00ZBond, Emma FrancesDejected by decades of commercial and critical failure, the Triestine author Italo Svevo found fresh inspiration for his final novel (La coscienza di Zeno, 1923) in the writings of Freud. Yet critics have always puzzled over his declared intransigence toward his new master, often attributing this ambivalence to a simple defence mechanism. But what if Svevo had been reading other works simultaneously, works that challenged and exposed the weaknesses of psychoanalytic authority? As this article argues, Svevo’s recently discovered reading of Kierkegaard’s ‘existential irony’ sheds light on his conception of the power of both narrative and the analytical process itself.Introduction: censorship and creative freedomO'Leary, Catherine Margarethttp://hdl.handle.net/10023/103912018-01-07T03:12:41Z2015-09-01T00:00:00Z2015-09-01T00:00:00ZO'Leary, Catherine MargaretTwo Natures Translated from the Russian by Emily FinerFiner, Emilyhttp://hdl.handle.net/10023/102412018-02-25T00:32:34Z2017-02-01T00:00:00Z2017-02-01T00:00:00ZFiner, EmilyPrediction, prophecy and predestination : eternalising poetry in the CommediaRossignoli, Claudiahttp://hdl.handle.net/10023/100392017-12-31T00:40:31Z2016-12-01T00:00:00Z2016-12-01T00:00:00ZRossignoli, ClaudiaThe French Communist Party and Britain in the Second World WarBowd, Gavin Philiphttp://hdl.handle.net/10023/100252017-12-31T00:34:36Z2014-12-01T00:00:00ZTransnational studies of the French Communist Party (PCF) have understandably emphasized relations with the Soviet and Italian Parties. However, study of the PCF's relations with its minnow-like counterpart in Britain sheds light on its tortuous trajectory during the Second World War. The French and British communist press of the period, as well as recently released archival documents, show radical shifts in line and fortune, ultimately determined by decisions taken in Moscow. The defeat of Nazism sees the apogee of communist influence on both sides of the Channel, but signs of isolation and inexorable decline soon emerge.
2014-12-01T00:00:00ZBowd, Gavin PhilipTransnational studies of the French Communist Party (PCF) have understandably emphasized relations with the Soviet and Italian Parties. However, study of the PCF's relations with its minnow-like counterpart in Britain sheds light on its tortuous trajectory during the Second World War. The French and British communist press of the period, as well as recently released archival documents, show radical shifts in line and fortune, ultimately determined by decisions taken in Moscow. The defeat of Nazism sees the apogee of communist influence on both sides of the Channel, but signs of isolation and inexorable decline soon emerge.‘Il clandestino è l’ebreo di oggi’ : imprints of the Shoah on migration to ItalyDuncan, Derek Egertonhttp://hdl.handle.net/10023/99872018-01-21T00:31:33Z2016-12-15T00:00:00ZDrawing on Rey Chow’s notion of “entanglement” and Michael Rothberg’s work on “multidirectional memory”, I look at the ways in which certain visual, lexical, and historical representations and tropes operate to create points of connection between the Shoah and contemporary migration to Italy across the Mediterranean. I argue that the deployment of these images is not intended to indicate similarities, or indeed, dissimilarities, between historical events. The network of association which is produced offers a space in which to critically and creatively interrogate past and present, and their possible interconnections. I then analyse in detail the work of novelist, Igiaba Scego, and film-maker, Dagmawi Yimer, to uncover an “entanglement” bringing together cultural memories of the Shoah, and silenced histories of Italian colonialism to indict political and cultural practices informing responses to death by drowning in the Mediterranean.
2016-12-15T00:00:00ZDuncan, Derek EgertonDrawing on Rey Chow’s notion of “entanglement” and Michael Rothberg’s work on “multidirectional memory”, I look at the ways in which certain visual, lexical, and historical representations and tropes operate to create points of connection between the Shoah and contemporary migration to Italy across the Mediterranean. I argue that the deployment of these images is not intended to indicate similarities, or indeed, dissimilarities, between historical events. The network of association which is produced offers a space in which to critically and creatively interrogate past and present, and their possible interconnections. I then analyse in detail the work of novelist, Igiaba Scego, and film-maker, Dagmawi Yimer, to uncover an “entanglement” bringing together cultural memories of the Shoah, and silenced histories of Italian colonialism to indict political and cultural practices informing responses to death by drowning in the Mediterranean.“Iglesia me llamo”: realidad y ficción en los alias criminales del Siglo de OroBergman, Ted Lars Lennarthttp://hdl.handle.net/10023/98972018-01-07T03:36:01Z2017-01-01T00:00:00ZThis study has both the purpose of re-introducing scholars to a rich trove of information about many criminal nicknames from the seventeenth century and the purpose of demonstrating that the creativity, and even exaggeration, present in the real nicknames are no less than those of the era’s author’s literary creations. At times truth is stranger than fiction, as the old saying goes. This article will be an invitation to return to the source in order to free ourselves from circular chains of association based on citations found in modern editions of comedias, poems, and novels from the Golden Age. These associations can trap us and impede us from verifying if what we are reading in a work is pure fiction, inspired by something real, or information from an undeniable reality. It is important to note that, as with my predecessors, I have not attempted to make an exhaustive list, but rather offer to some examples that belong to particular tendencies.
2017-01-01T00:00:00ZBergman, Ted Lars LennartThis study has both the purpose of re-introducing scholars to a rich trove of information about many criminal nicknames from the seventeenth century and the purpose of demonstrating that the creativity, and even exaggeration, present in the real nicknames are no less than those of the era’s author’s literary creations. At times truth is stranger than fiction, as the old saying goes. This article will be an invitation to return to the source in order to free ourselves from circular chains of association based on citations found in modern editions of comedias, poems, and novels from the Golden Age. These associations can trap us and impede us from verifying if what we are reading in a work is pure fiction, inspired by something real, or information from an undeniable reality. It is important to note that, as with my predecessors, I have not attempted to make an exhaustive list, but rather offer to some examples that belong to particular tendencies.Liminality as identity in four novels by Ben Okri and Tahar ben JellounTaylor, Laurelhttp://hdl.handle.net/10023/98252016-11-17T00:15:51Z2001-01-01T00:00:00ZThis thesis compares two novels each by Nigerian writer Ben Okri and Moroccan
writer Tahar Ben Jelloun. By examining apparently transformative moments in the lives of each
protagonist, Azaro and Zahra, its principal aim is to show how liminality characterises their
identities, and is a source of personal and potentially political liberation, mirrored in the
narrative techniques.
The Introduction demonstrates the centrality of identity to these novels and the
domain of postcolonial studies and defines the key concepts in relevant literary, theoretical and
political contexts: identity, hybridity, liminality, magical realism and the
postcolonial/postmodern debate.
Chapter I establishes Azaro and Zahra as liminal beings from birth, whose childhood
rituals are incomplete and who continually subvert parental and social expectation. This
examination of liminality may be extended by reading the characters as emblems of their
respective nations-in-waiting.
Chapter II focuses on the tension between biology and culture within Zahra's gendered
identity and demonstrates empowerment in her choice to remain liminal in a 'potential space'.
Azaro's shifting sexual awareness is examined as a manifestation of his liminality. The
allegorical reading of Zahra's life is continued, and a connection made between sexual and
political corruption in the English texts.
Chapter III centres on the fluidity of Azaro's boundaries and perception. Like Zahra's,
his liminality is chosen, as he decides to live in a potential space between human and spirit.
Zahra, too, has a special relationship with the spirit world; she and Azaro are shown to have
revelatory visions of political significance.
The Conclusion brings together the analysis of Azaro's and Zahra's identities before
extending the liminal states of the protagonists to those of reader and artist. It concludes that
these texts offer new opportunities for the understanding of postcolonial texts and moving
beyond the duality of the postcolonial/postmodern debate.
2001-01-01T00:00:00ZTaylor, LaurelThis thesis compares two novels each by Nigerian writer Ben Okri and Moroccan
writer Tahar Ben Jelloun. By examining apparently transformative moments in the lives of each
protagonist, Azaro and Zahra, its principal aim is to show how liminality characterises their
identities, and is a source of personal and potentially political liberation, mirrored in the
narrative techniques.
The Introduction demonstrates the centrality of identity to these novels and the
domain of postcolonial studies and defines the key concepts in relevant literary, theoretical and
political contexts: identity, hybridity, liminality, magical realism and the
postcolonial/postmodern debate.
Chapter I establishes Azaro and Zahra as liminal beings from birth, whose childhood
rituals are incomplete and who continually subvert parental and social expectation. This
examination of liminality may be extended by reading the characters as emblems of their
respective nations-in-waiting.
Chapter II focuses on the tension between biology and culture within Zahra's gendered
identity and demonstrates empowerment in her choice to remain liminal in a 'potential space'.
Azaro's shifting sexual awareness is examined as a manifestation of his liminality. The
allegorical reading of Zahra's life is continued, and a connection made between sexual and
political corruption in the English texts.
Chapter III centres on the fluidity of Azaro's boundaries and perception. Like Zahra's,
his liminality is chosen, as he decides to live in a potential space between human and spirit.
Zahra, too, has a special relationship with the spirit world; she and Azaro are shown to have
revelatory visions of political significance.
The Conclusion brings together the analysis of Azaro's and Zahra's identities before
extending the liminal states of the protagonists to those of reader and artist. It concludes that
these texts offer new opportunities for the understanding of postcolonial texts and moving
beyond the duality of the postcolonial/postmodern debate.On our blindness: Pieter Bruegel the Elder and Salvador Espriu's Per al llibre de salms d'aquests vells cecs (1967)Letran, Javierhttp://hdl.handle.net/10023/98192017-12-31T00:35:47Z2016-11-01T00:00:00Z2016-11-01T00:00:00ZLetran, JavierThe stuff of translation and independent female scientific authorship: the case of "Taxidermy..." anon. (1820)Orr, Maryhttp://hdl.handle.net/10023/97982018-02-11T00:31:33Z2015-07-31T00:00:00Z2015-07-31T00:00:00ZOrr, MaryLibertine clairs-obscurs : the enticement of the shadowsGanofsky, Marinehttp://hdl.handle.net/10023/97712018-01-07T02:42:31Z2014-12-01T00:00:00ZThis article draws an analogy between the early modern definitions of clair-obscur and eighteenth-century French libertine literature. In libertine prose the concept of clair-obscur is used not only to describe voluptuous settings: it also helps authors define libertine writing as always fully conscious of the balance it must reach, for the sake of erotic and aesthetic gratification, between being too clear and therefore crude and being too obscure and therefore unintelligible. However, whereas tradition had conceived shadows as peripheral within representation, libertines conceptualise darkness as an endless source of imaginative liberty and fantasies, making shadows crucial to their pleasure.
2014-12-01T00:00:00ZGanofsky, MarineThis article draws an analogy between the early modern definitions of clair-obscur and eighteenth-century French libertine literature. In libertine prose the concept of clair-obscur is used not only to describe voluptuous settings: it also helps authors define libertine writing as always fully conscious of the balance it must reach, for the sake of erotic and aesthetic gratification, between being too clear and therefore crude and being too obscure and therefore unintelligible. However, whereas tradition had conceived shadows as peripheral within representation, libertines conceptualise darkness as an endless source of imaginative liberty and fantasies, making shadows crucial to their pleasure.Negotiating home spaces : spatial practices in Italian postcolonial literatureGiuliana, Chiarahttp://hdl.handle.net/10023/97642016-11-04T10:50:35Z2015-01-01T00:00:00Z2015-01-01T00:00:00ZGiuliana, ChiaraRomanians of the French ResistanceBowd, Gavinhttp://hdl.handle.net/10023/96362018-01-07T02:55:09Z2014-12-01T00:00:00Z2014-12-01T00:00:00ZBowd, GavinCan people experience posttraumatic growth after committing violent acts?Blackie, Laura E RRoepke, Ann MarieHitchcott, NickiJoseph, Stephenhttp://hdl.handle.net/10023/95062018-01-07T03:48:11Z2016-11-01T00:00:00ZThe concept of post-traumatic growth refers to the positive psychological changes that some people experience as a result of their struggle with highly stressful and often traumatic circumstances. Research into post-traumatic growth has typically focused on survivors of violent victimization or other uncontrollable and tragic circumstances. However, emerging research into service members in the armed forces has shown that post-traumatic growth can also occur in this population. We synthesize existing research to propose a preliminary model outlining the psychosocial processes that may facilitate post-traumatic growth among people who have perpetrated acts of violence. We end by discussing some of the important questions that future theoretical and empirical work will need to address.
This publication was made possible through the support of a grant from the Arts and Humanities Research Council UK (AH/M004155/1).
2016-11-01T00:00:00ZBlackie, Laura E RRoepke, Ann MarieHitchcott, NickiJoseph, StephenThe concept of post-traumatic growth refers to the positive psychological changes that some people experience as a result of their struggle with highly stressful and often traumatic circumstances. Research into post-traumatic growth has typically focused on survivors of violent victimization or other uncontrollable and tragic circumstances. However, emerging research into service members in the armed forces has shown that post-traumatic growth can also occur in this population. We synthesize existing research to propose a preliminary model outlining the psychosocial processes that may facilitate post-traumatic growth among people who have perpetrated acts of violence. We end by discussing some of the important questions that future theoretical and empirical work will need to address.Iphigénie en Haïti : Gluck Opera in the French Colonial CaribbeanPrest, Julia Tamsinhttp://hdl.handle.net/10023/93212018-01-22T17:30:09Z2017-03-01T00:00:00ZGluck is rightly hailed as the ‘first truly international opera composer’, although his internationalism is always understood in strictly European terms. This article seeks to expand our understanding of Gluck’s international scope beyond Europe and specifically into the French colonial Caribbean. Saint-Domingue (now Haiti) enjoyed the most vibrant theatrical tradition of the whole Caribbean in the eighteenth century: hundreds of public performances of spoken drama and opera were given there between 1765 and the slave revolts of 1791. Given the local preference for light works, particularly opéra comique, it is all the more remarkable that three of Gluck’s Paris operas that had premiered in the 1770s were performed in the 1780s in Saint-Domingue: Orphée et Euridice (also performed in Martinique), Iphigénie en Aulide and Iphigénie en Tauride. Indeed, from the Saint-Dominguan perspective, Gluck was the sole exemplar of serious French opera. Drawing primarily on local newspaper accounts, performances of the three works are examined in turn. The emphasis is on performance practices in the context of local conditions, both social and practical. Gluck opera is seen to have reached a mixed, though segregated, audience that incorporated some free people of colour, including a small number of black people, and the first documented performance of a singer of colour in a Gluck opera is uncovered. Additional questions are raised by the participation of slave and former slave musicians in the theatre orchestras. Our understanding of Gluck’s reach, reception and status, and of the three operas in question, is thus broadened and deepened in some significant ways.
2017-03-01T00:00:00ZPrest, Julia TamsinGluck is rightly hailed as the ‘first truly international opera composer’, although his internationalism is always understood in strictly European terms. This article seeks to expand our understanding of Gluck’s international scope beyond Europe and specifically into the French colonial Caribbean. Saint-Domingue (now Haiti) enjoyed the most vibrant theatrical tradition of the whole Caribbean in the eighteenth century: hundreds of public performances of spoken drama and opera were given there between 1765 and the slave revolts of 1791. Given the local preference for light works, particularly opéra comique, it is all the more remarkable that three of Gluck’s Paris operas that had premiered in the 1770s were performed in the 1780s in Saint-Domingue: Orphée et Euridice (also performed in Martinique), Iphigénie en Aulide and Iphigénie en Tauride. Indeed, from the Saint-Dominguan perspective, Gluck was the sole exemplar of serious French opera. Drawing primarily on local newspaper accounts, performances of the three works are examined in turn. The emphasis is on performance practices in the context of local conditions, both social and practical. Gluck opera is seen to have reached a mixed, though segregated, audience that incorporated some free people of colour, including a small number of black people, and the first documented performance of a singer of colour in a Gluck opera is uncovered. Additional questions are raised by the participation of slave and former slave musicians in the theatre orchestras. Our understanding of Gluck’s reach, reception and status, and of the three operas in question, is thus broadened and deepened in some significant ways.(N)ostalgie? Communism and French literature since 1989Bowd, Gavinhttp://hdl.handle.net/10023/91732018-01-07T03:45:14Z2016-11-01T00:00:00ZIn recent years, the burgeoning field of research on ‘post-communist nostalgia’ has concentrated mainly on the former Eastern Bloc, with Ostalgie for the GDR of particular interest. Study of the memory of communism in western countries such as France has been marginal. However, communism has left a considerable trace on French culture and politics. This article examines the memory of communism in French literature published since 1989. The novels of Bernard Chambaz, Aurélie Filippetti and Michel Houellebecq express affection and even longing for the lost world of communism, while reflecting lucidly on the failure of ‘really existing socialism’ and marking a break with previous generations. To varying degrees, these writers evoke the crisis of a France decentred and disoriented by social liberalisation, globalisation and migratory flows. Beyond any reflective nostalgia for communism, there appears, between the lines, a nostalgia for a certain France.
2016-11-01T00:00:00ZBowd, GavinIn recent years, the burgeoning field of research on ‘post-communist nostalgia’ has concentrated mainly on the former Eastern Bloc, with Ostalgie for the GDR of particular interest. Study of the memory of communism in western countries such as France has been marginal. However, communism has left a considerable trace on French culture and politics. This article examines the memory of communism in French literature published since 1989. The novels of Bernard Chambaz, Aurélie Filippetti and Michel Houellebecq express affection and even longing for the lost world of communism, while reflecting lucidly on the failure of ‘really existing socialism’ and marking a break with previous generations. To varying degrees, these writers evoke the crisis of a France decentred and disoriented by social liberalisation, globalisation and migratory flows. Beyond any reflective nostalgia for communism, there appears, between the lines, a nostalgia for a certain France.Failed seductions and the female spectator : pleasure and polemic in the Lettre sur la comédie de l’ImposteurPrest, Julia Tamsinhttp://hdl.handle.net/10023/89532017-12-31T00:34:14Z2017-01-10T00:00:00ZThe anonymous author of the Lettre Lettre sur la comédie de l’Imposteur (1667) makes the extraordinary claim that Molière’s Tartuffe, ou l’hypocrite, now renamed Panulphe, ou l’Imposteur, offers a powerful attack on, and a reliable inoculation against galanterie solide. The argument turns on an intriguing theory of ridicule whereby the effect of seeing in performance Panulphe-Tartuffe’s attempted seduction of La Dame-Elmire is so powerful that the extreme sense of ridicule it engenders among the theatre audience is indelible and will inevitably be called to mind in any similar off-stage encounters. The play, it is argued, is thus endowed with a significant moral function that can only benefit the French nation currently in the sway of a tide of sexual immorality. The argument put forward is intriguing, yet slippery in its moral ambiguity and sometimes obfuscatory logic. Here I unpick these claims, paying particular attention to the emphasis placed on the response of the female spectator. I also speculate on the author’s purpose in writing this portion of a letter in which different types of pleasure--rhetorical, aesthetic and moral, as well as the very pleasure of polemic--are put into the service of a polemic that extends far beyond the immediate concerns of the Tartuffe controversy
ISBN: 9780300221633.
2017-01-10T00:00:00ZPrest, Julia TamsinThe anonymous author of the Lettre Lettre sur la comédie de l’Imposteur (1667) makes the extraordinary claim that Molière’s Tartuffe, ou l’hypocrite, now renamed Panulphe, ou l’Imposteur, offers a powerful attack on, and a reliable inoculation against galanterie solide. The argument turns on an intriguing theory of ridicule whereby the effect of seeing in performance Panulphe-Tartuffe’s attempted seduction of La Dame-Elmire is so powerful that the extreme sense of ridicule it engenders among the theatre audience is indelible and will inevitably be called to mind in any similar off-stage encounters. The play, it is argued, is thus endowed with a significant moral function that can only benefit the French nation currently in the sway of a tide of sexual immorality. The argument put forward is intriguing, yet slippery in its moral ambiguity and sometimes obfuscatory logic. Here I unpick these claims, paying particular attention to the emphasis placed on the response of the female spectator. I also speculate on the author’s purpose in writing this portion of a letter in which different types of pleasure--rhetorical, aesthetic and moral, as well as the very pleasure of polemic--are put into the service of a polemic that extends far beyond the immediate concerns of the Tartuffe controversyThe German language and Reunification 1990 : the effect of emotion on the use of modal particles in East and West BerlinBraber, Nataliehttp://hdl.handle.net/10023/89402016-10-20T08:52:40Z2002-01-01T00:00:00ZThe thesis looks at the language of Germany before and after
unification in 1990. In particular the language of the German
Democratic Republic before the Wende is examined and the
subsequent changes within it. Furthermore, the influence of emotion
on the use of modal particles in East and West Berlin is analysed in
order to ascertain how emotion can affect language use. The first
section concentrates on the language of the German Democratic
Republic and how this differed from the language of the Federal
Republic of Germany. By looking at two such opposing political
systems it is possible to see the effect of politics and the social,
cultural and economic values of a state on its language. The second
section analyses the language of Germany after the Wende in 1989
and unification in 1990. These changes in German society had
profound effects on all aspects of East German life, and to a lesser
extent in the Federal Republic of Germany. The citizens of the former
German Democratic Republic had to learn to adapt to their new
system and this is closely examined. Section three examines modal
particles, what they are and how they are used in the German
language. After a more general section, the particular modal particles
examined in chapter 5: eben, halt, doch, denn and eigentlich are
discussed and their usages examined. The fourth section
concentrates on emotion and how it has been viewed in past and
present research, in conjunction with thought and language. The fifth
and final section is the analysis of a corpus of German language,
interviews with citizens of East and West Berlin regarding 9 November
1989 and the period after. By examining this corpus, looking at the
usage of the five afore-mentioned modal particles and tags and the
emotion felt by the speakers, the connection between emotion and the
use of modal particles is illustrated.
2002-01-01T00:00:00ZBraber, NatalieThe thesis looks at the language of Germany before and after
unification in 1990. In particular the language of the German
Democratic Republic before the Wende is examined and the
subsequent changes within it. Furthermore, the influence of emotion
on the use of modal particles in East and West Berlin is analysed in
order to ascertain how emotion can affect language use. The first
section concentrates on the language of the German Democratic
Republic and how this differed from the language of the Federal
Republic of Germany. By looking at two such opposing political
systems it is possible to see the effect of politics and the social,
cultural and economic values of a state on its language. The second
section analyses the language of Germany after the Wende in 1989
and unification in 1990. These changes in German society had
profound effects on all aspects of East German life, and to a lesser
extent in the Federal Republic of Germany. The citizens of the former
German Democratic Republic had to learn to adapt to their new
system and this is closely examined. Section three examines modal
particles, what they are and how they are used in the German
language. After a more general section, the particular modal particles
examined in chapter 5: eben, halt, doch, denn and eigentlich are
discussed and their usages examined. The fourth section
concentrates on emotion and how it has been viewed in past and
present research, in conjunction with thought and language. The fifth
and final section is the analysis of a corpus of German language,
interviews with citizens of East and West Berlin regarding 9 November
1989 and the period after. By examining this corpus, looking at the
usage of the five afore-mentioned modal particles and tags and the
emotion felt by the speakers, the connection between emotion and the
use of modal particles is illustrated."Let me go back and recreate what I don't know": Locating trans-national memory work in contemporary narrativeBond, Emma Franceshttp://hdl.handle.net/10023/87252017-12-31T00:35:53Z2016-04-28T00:00:00ZWhat are the narrative implications of working through aspects of an identity heritage that may have been partially or wholly lost through a family history of migration or diaspora? How do subjects access dislocated parts of their identity, and which strategies do they employ to (re-)create them within their stories? To explore such instances of what I term ‘by proxy’ diasporic experiences, I offer a comparative case study of three novels written by authors with family heritage from the Horn of Africa (Ubah Cristina Ali Farah, Dinaw Mengestu and Nadifa Mohamed), who are now active in different nations and languages. Highlighting the narrative strategies used to bridge the gap between past, present and future in the articulation of identity allows us to grasp the trans-national impact of diaspora mobility on memory work and privileges an awareness of the co-existence of different ‘pasts’ within national contexts.
2016-04-28T00:00:00ZBond, Emma FrancesWhat are the narrative implications of working through aspects of an identity heritage that may have been partially or wholly lost through a family history of migration or diaspora? How do subjects access dislocated parts of their identity, and which strategies do they employ to (re-)create them within their stories? To explore such instances of what I term ‘by proxy’ diasporic experiences, I offer a comparative case study of three novels written by authors with family heritage from the Horn of Africa (Ubah Cristina Ali Farah, Dinaw Mengestu and Nadifa Mohamed), who are now active in different nations and languages. Highlighting the narrative strategies used to bridge the gap between past, present and future in the articulation of identity allows us to grasp the trans-national impact of diaspora mobility on memory work and privileges an awareness of the co-existence of different ‘pasts’ within national contexts.‘L’Histoire de ma vie de Casanova : le libertinage comme rencontre entre le profane et le sacré ?’Ganofsky, Marinehttp://hdl.handle.net/10023/86582017-12-31T00:38:54Z2011-01-01T00:00:00Z2011-01-01T00:00:00ZGanofsky, MarineA phonotactic link between strong verbs and function words in EnglishBeedham, Christopherhttp://hdl.handle.net/10023/86232017-12-31T00:31:57Z2014-10-01T00:00:00ZDate of acceptance is 15.6.2006, for a December 2006 issue. Due to a hiatus in the editorship of the journal the issue was not published until 2014; with a 2006 imprint; the version published in 2014 is unchanged from the version accepted in 2006.
2014-10-01T00:00:00ZBeedham, ChristopherThe biographical imagination in Moritz's Anton Reiser : a chronotopic readingCusack, Andrew Thomashttp://hdl.handle.net/10023/86022018-01-07T02:58:45Z2015-06-01T00:00:00Z2015-06-01T00:00:00ZCusack, Andrew ThomasDonde se forman las expediciones definitivas : El hombre perdido (1947) y las novelas de la nebulosa de Ramón Gómez de la SernaFernandez Romero, Ricardohttp://hdl.handle.net/10023/86012017-12-31T00:33:53Z2016-04-12T00:00:00Z2016-04-12T00:00:00ZFernandez Romero, RicardoThe Janus and the Janissary : reading into Camus' 'La chute' and Hamid's 'The reluctant fundamentalist'Hutton, Margaret Annehttp://hdl.handle.net/10023/84802018-01-07T02:45:02Z2016-03-01T00:00:00ZMohsin Hamid has acknowledged the influence of Camus's The Fall (1956) in his use of implied dialogue in The Reluctant Fundamentalist (2007). Although the works have other elements in common, I focus primarily on this and other formal features, including degrees of self-reflexivity and metanarrative, the representation of the past, and the use of pronouns. This leads to an analysis of the reception of The Fall and the manner in which critics have turned to paratextual material in their historico-political interpretations, a form of “reading into” which I suggest is prompted by the monologic, “terroristic” nature of the narrative. Hamid's Reluctant Fundamentalist, by contrast, has been interpreted predominantly in terms of post-9/11 geopolitical issues articulated within the diegesis: a “reading in” rather than “into.” To redress the critical balance, the article closes with a reading of Hamid's text that decenters such interpretations, focusing instead on the representation of books, global markets, and diegetic novelists, a “return of the author” in another guise.
2016-03-01T00:00:00ZHutton, Margaret AnneMohsin Hamid has acknowledged the influence of Camus's The Fall (1956) in his use of implied dialogue in The Reluctant Fundamentalist (2007). Although the works have other elements in common, I focus primarily on this and other formal features, including degrees of self-reflexivity and metanarrative, the representation of the past, and the use of pronouns. This leads to an analysis of the reception of The Fall and the manner in which critics have turned to paratextual material in their historico-political interpretations, a form of “reading into” which I suggest is prompted by the monologic, “terroristic” nature of the narrative. Hamid's Reluctant Fundamentalist, by contrast, has been interpreted predominantly in terms of post-9/11 geopolitical issues articulated within the diegesis: a “reading in” rather than “into.” To redress the critical balance, the article closes with a reading of Hamid's text that decenters such interpretations, focusing instead on the representation of books, global markets, and diegetic novelists, a “return of the author” in another guise.Exceptions and their correlations : a methodology for research in grammarBeedham, Christopherhttp://hdl.handle.net/10023/83582017-12-31T00:38:59Z2014-01-01T00:00:00Z2014-01-01T00:00:00ZBeedham, ChristopherPerforming as Soviet Central Asia’s source texts : Lahuti and Džambul in Moscow, 1935-1936Holt, Katharine Mansfieldhttp://hdl.handle.net/10023/83332017-12-31T00:33:39Z2015-03-12T00:00:00ZThis article explores the indigenization of the representation of Soviet Central Asia in Russian-language literature by examining how two Central Asian literary figures—the “Tajik” poet Abulqasim Lahuti and the Kazakh bard Džambul Džabaev were promoted in Russian in the mid-1930s. More specifically, it discusses the canonization of Lahuti and Džambul within the Soviet literary system in 1935 and 1936, arguing that it occurred when each performed in Moscow and demonstrated his ability to serve Stalin’s “friendship of peoples” both as a translated court poet and an embodiment of the East, which is to say as an untranslatable source text.
2015-03-12T00:00:00ZHolt, Katharine MansfieldThis article explores the indigenization of the representation of Soviet Central Asia in Russian-language literature by examining how two Central Asian literary figures—the “Tajik” poet Abulqasim Lahuti and the Kazakh bard Džambul Džabaev were promoted in Russian in the mid-1930s. More specifically, it discusses the canonization of Lahuti and Džambul within the Soviet literary system in 1935 and 1936, arguing that it occurred when each performed in Moscow and demonstrated his ability to serve Stalin’s “friendship of peoples” both as a translated court poet and an embodiment of the East, which is to say as an untranslatable source text.Guillevic's 'Elégie' of 1958Bowd, Gavin Philiphttp://hdl.handle.net/10023/82842017-12-31T00:34:37Z2014-01-01T00:00:00Z2014-01-01T00:00:00ZBowd, Gavin PhilipCalling Planet Marx: Nicolae Ceausescu's cultural revolutionBowd, Gavin Philiphttp://hdl.handle.net/10023/81572017-12-31T00:36:02Z2016-08-01T00:00:00ZThe late sixties saw a considerable liberalisation of cultural and political life in Communist Romania. However, after a trip to the Far East, Nicolae Ceausescu launched a 'cultural revolution' which aimed to shore up the regime and protect it from foreign influences. If this mass cultural mobilisation did receive support in some areas, it also hollowed out the ideological core of the Communist Party, exacerbated the cult of the personality and increasingly isolated the country, thus preparing the ground the revolution of December 1989.
2016-08-01T00:00:00ZBowd, Gavin PhilipThe late sixties saw a considerable liberalisation of cultural and political life in Communist Romania. However, after a trip to the Far East, Nicolae Ceausescu launched a 'cultural revolution' which aimed to shore up the regime and protect it from foreign influences. If this mass cultural mobilisation did receive support in some areas, it also hollowed out the ideological core of the Communist Party, exacerbated the cult of the personality and increasingly isolated the country, thus preparing the ground the revolution of December 1989.Black Virgins, Close Encounters : re-examining the ‘semi-documentary’ in postmigrant theatreStewart, Lizziehttp://hdl.handle.net/10023/81032017-12-31T00:39:17Z2015-01-01T00:00:00ZIn 2006 the premiere of Feridun Zaimoglu and Günter Senkel’s play Black Virgins (Schwarze Jungfrauen) became the first play by a Turkish-German writer to feature on the front cover of Germany’s influential theatre magazine, Theater heute (Theatre Today). Black Virgins consists of interview-based monologues of Muslim women reworked into Zaimoglu’s “artistic language” and has generally been received as “semi-documentary theatre.” However, the director of the premiere, Neco Çelik, claims that Black Virgins “should not be read in a documentary [...] manner.” This is reflected in the use of references to science fiction films, particularly Steven Spielberg’s Close Encounters of A Third Kind, in Çelik’s use of sound, costume and mise-en-scène. Drawing on personal interviews with Çelik and Zaimoglu, as well as reviews, scripts and a video-recording of the premiere production, this article will explore the ways in which the intertextual, intermedial and transnational references to science fiction present in the premiere of Black Virgins provide a new mode of understanding this landmark production. It will argue that close attention to Çelik’s non-documentary articulation of Black Virgins can be used not only to shed new light on the play’s reception, but also to frame audiences’ “close encounter” with the Muslim woman in unexpected ways.
2015-01-01T00:00:00ZStewart, LizzieIn 2006 the premiere of Feridun Zaimoglu and Günter Senkel’s play Black Virgins (Schwarze Jungfrauen) became the first play by a Turkish-German writer to feature on the front cover of Germany’s influential theatre magazine, Theater heute (Theatre Today). Black Virgins consists of interview-based monologues of Muslim women reworked into Zaimoglu’s “artistic language” and has generally been received as “semi-documentary theatre.” However, the director of the premiere, Neco Çelik, claims that Black Virgins “should not be read in a documentary [...] manner.” This is reflected in the use of references to science fiction films, particularly Steven Spielberg’s Close Encounters of A Third Kind, in Çelik’s use of sound, costume and mise-en-scène. Drawing on personal interviews with Çelik and Zaimoglu, as well as reviews, scripts and a video-recording of the premiere production, this article will explore the ways in which the intertextual, intermedial and transnational references to science fiction present in the premiere of Black Virgins provide a new mode of understanding this landmark production. It will argue that close attention to Çelik’s non-documentary articulation of Black Virgins can be used not only to shed new light on the play’s reception, but also to frame audiences’ “close encounter” with the Muslim woman in unexpected ways.Up close and personal : audience pleasure and unpleasure in La Querelle de L’Ecole des FemmesPrest, Julia Tamsinhttp://hdl.handle.net/10023/80872017-12-31T00:35:52Z2014-09-05T00:00:00Z2014-09-05T00:00:00ZPrest, Julia TamsinHonour and recognition in the German novel of banditry ca 1800Cusack, Andrew Thomashttp://hdl.handle.net/10023/80422018-01-07T03:32:29Z2016-03-01T00:00:00ZThis article performs a reading informed by Honneth’s theory of recognition of the two best-known German novels of banditry of the 1790s, Johann Heinrich Zschokke’s Abaellino der große Bandit (1794) and Christian August Vulpius’ Rinaldo Rinaldini (1799) in an effort to understand how popular literature participates in and reflects upon the discourse on honour and recognition around 1800. Its status as popular genre makes the novel of banditry (Räuberroman) a potentially interesting source on shifts in the theory and practice of honour as experienced by ordinary Europeans at the turn of the 19th century. The genre was found to relate to the honour discourse not directly, but in the manner of a heterotopia, simultaneously located outside that discourse and referentially connected to it. Taken in isolation, the novel of banditry is not an informative source on the changing role of honour and new patterns of intersubjective recognition in late 18th century Europe. Seen as part of a particular constellation of textual production and reception, however, the genre sheds light on the aporias of honour experienced by those socially marginal ‘new readers’ intent on exploiting literature in the struggle for enhanced social recognition.
2016-03-01T00:00:00ZCusack, Andrew ThomasThis article performs a reading informed by Honneth’s theory of recognition of the two best-known German novels of banditry of the 1790s, Johann Heinrich Zschokke’s Abaellino der große Bandit (1794) and Christian August Vulpius’ Rinaldo Rinaldini (1799) in an effort to understand how popular literature participates in and reflects upon the discourse on honour and recognition around 1800. Its status as popular genre makes the novel of banditry (Räuberroman) a potentially interesting source on shifts in the theory and practice of honour as experienced by ordinary Europeans at the turn of the 19th century. The genre was found to relate to the honour discourse not directly, but in the manner of a heterotopia, simultaneously located outside that discourse and referentially connected to it. Taken in isolation, the novel of banditry is not an informative source on the changing role of honour and new patterns of intersubjective recognition in late 18th century Europe. Seen as part of a particular constellation of textual production and reception, however, the genre sheds light on the aporias of honour experienced by those socially marginal ‘new readers’ intent on exploiting literature in the struggle for enhanced social recognition.Sound and Sense in Classical Arabic Poetry by Geert Jan van GelderDmitriev, Kirillhttp://hdl.handle.net/10023/80152017-12-31T00:35:51Z2015-01-01T00:00:00Z2015-01-01T00:00:00ZDmitriev, KirillSoviet and post-Soviet identitiesDonovan, Victoria Sophiehttp://hdl.handle.net/10023/79422017-12-31T00:33:19Z2014-01-01T00:00:00Z2014-01-01T00:00:00ZDonovan, Victoria SophieJácaras and narcocorridos in context : what early modern Spain can tell us about today's Narco-cultureBergman, Ted Lars Lennarthttp://hdl.handle.net/10023/79112018-01-07T03:07:50Z2015-01-01T00:00:00Z2015-01-01T00:00:00ZBergman, Ted Lars LennartDiálogo de la lengua. Juan de Valdés. A Diplomatic Edition.http://hdl.handle.net/10023/77992017-12-31T00:41:24Z2014-12-16T00:00:00Z2014-12-16T00:00:00ZHow well do you know your krai? The kraevedenie revival and patriotic politics in late Khrushchev-era RussiaDonovan, Victoria Sophiehttp://hdl.handle.net/10023/77062018-01-07T03:10:09Z2015-01-01T00:00:00ZThis article examines the state-sponsored rise of local patriotism in the post-1961 period, interpreting it as part of the effort to strengthen popular support for and the legitimacy of the Soviet regime during the second phase of de-Stalinization. It shifts the analytical focus away from the Secret Speech of 1956, the time of Nikita Khrushchev's full-scale assault on Iosif Stalin and his legacy, to the Twenty-Second Party Congress of 1961, the inauguration of a utopian and pioneering plan to build communism by 1980. I consider how this famously forward-looking program gave rise to an institutionalized retrospectivism, as Soviet policymakers turned to the past to mobilize popular support for socialist construction. I examine how this process played out in the Russian northwest, where Soviet citizens were encouraged to turn inward, to examine their local history and traditions, and to reread these through a socialist lens.
This article is based on doctoral research carried out as part of an AHRC-funded project titled “National Identity in Russia since 1961: Traditions and Deterritorialisation” (2007–11).
2015-01-01T00:00:00ZDonovan, Victoria SophieThis article examines the state-sponsored rise of local patriotism in the post-1961 period, interpreting it as part of the effort to strengthen popular support for and the legitimacy of the Soviet regime during the second phase of de-Stalinization. It shifts the analytical focus away from the Secret Speech of 1956, the time of Nikita Khrushchev's full-scale assault on Iosif Stalin and his legacy, to the Twenty-Second Party Congress of 1961, the inauguration of a utopian and pioneering plan to build communism by 1980. I consider how this famously forward-looking program gave rise to an institutionalized retrospectivism, as Soviet policymakers turned to the past to mobilize popular support for socialist construction. I examine how this process played out in the Russian northwest, where Soviet citizens were encouraged to turn inward, to examine their local history and traditions, and to reread these through a socialist lens.Naissance et mort de l’auteur : Les investigations d’Amélie NothombHugueny-Leger, Elise Simone Mariehttp://hdl.handle.net/10023/75662017-12-31T00:35:19Z2015-09-25T00:00:00ZNombre des livres d’Amélie Nothomb sont bâtis autour d’éléments appartenant au « policier », toujours utilisés de manière détournée ou parodiée. Dans la lignée des post-Nouveaux Romans, ils participent à une réflexion sur la construction, à la première personne, de l’identité narrative et auctoriale. Cet article considère les multiples facettes du motif de l’investigation et du dévoilement de soi, et le travail du lecteur face au pouvoir de l’écrit chez Nothomb, en s’appuyant principalement sur Le Fait du prince et Hygiène de l’assassin. Many of Nothomb’s books borrow from traditional features of crime fiction. In line with post-Nouveaux Romans, they do so whilst resorting to parody, in a bid to reflect on the levels of construction, in first-person narratives, of the identities of authors and narrators. This study considers the narrative possibilities opened by investigations and processes of unveiling, and the role to be played by the reader faced with the power of the written word, in the works of Nothomb, as seen in particular in Le Fait du prince and Hygiène de l’assassin.
2015-09-25T00:00:00ZHugueny-Leger, Elise Simone MarieNombre des livres d’Amélie Nothomb sont bâtis autour d’éléments appartenant au « policier », toujours utilisés de manière détournée ou parodiée. Dans la lignée des post-Nouveaux Romans, ils participent à une réflexion sur la construction, à la première personne, de l’identité narrative et auctoriale. Cet article considère les multiples facettes du motif de l’investigation et du dévoilement de soi, et le travail du lecteur face au pouvoir de l’écrit chez Nothomb, en s’appuyant principalement sur Le Fait du prince et Hygiène de l’assassin. Many of Nothomb’s books borrow from traditional features of crime fiction. In line with post-Nouveaux Romans, they do so whilst resorting to parody, in a bid to reflect on the levels of construction, in first-person narratives, of the identities of authors and narrators. This study considers the narrative possibilities opened by investigations and processes of unveiling, and the role to be played by the reader faced with the power of the written word, in the works of Nothomb, as seen in particular in Le Fait du prince and Hygiène de l’assassin.Genres instables : ludic performances of autofiction in the works of Catherine Cusset, Philippe Vilain, Chloé Delaume and Éric ChevillardFraser, Morvenhttp://hdl.handle.net/10023/73252016-09-28T08:18:56Z2015-11-30T00:00:00ZAutofiction has been the subject of much critical investigation in France, yet little of this theory extends to contemporary texts. Furthermore, autofictional theory has, until now, neglected the study of ludic performance – an important feature within the genre –, and this thesis contributes to filling this gap in criticism. Through this analysis, I establish the genre’s construction as well as the constitution of the autobiographical persona in the autofictional texts of four authors. I argue that in order for autofiction to
be considered as a genre, ludic strategies and autofictional personae are critical factors in the genre’s construction. I build on previous scholarship of autofiction before
discussing the performance of autobiographical personae producing an autofictional body in the works of four contemporary French writers: Catherine Cusset, Philippe Vilain, Chloé Delaume and Éric Chevillard. Each author is analysed in a dedicated chapter exploring their autofictional œuvres, yielding three key trends. These are: the proliferation of intertextual references, ludic representations of the genre, and the creation of an autofictional body by the
reader through autofictional personae. In each chapter I examine the construction of
these personae, revealing a separation between selfhood constructed in language and
questions of the body, both of the autofictional personae as well as characters within the text. Other characters within the texts expose complex constructions of gender that range from a rejection of male characters to the homogenisation of female characters reduced to stereotypes. Depictions of the intimate sphere within autofiction, including relationships and gendered constructs, are analysed in order to situate autofiction as a genre. Through the discussion of autofictional personae pivotal in this conception of autofiction, this thesis posits that representations of the body – within and beyond language – are the key to understanding autofictional performances.
2015-11-30T00:00:00ZFraser, MorvenAutofiction has been the subject of much critical investigation in France, yet little of this theory extends to contemporary texts. Furthermore, autofictional theory has, until now, neglected the study of ludic performance – an important feature within the genre –, and this thesis contributes to filling this gap in criticism. Through this analysis, I establish the genre’s construction as well as the constitution of the autobiographical persona in the autofictional texts of four authors. I argue that in order for autofiction to
be considered as a genre, ludic strategies and autofictional personae are critical factors in the genre’s construction. I build on previous scholarship of autofiction before
discussing the performance of autobiographical personae producing an autofictional body in the works of four contemporary French writers: Catherine Cusset, Philippe Vilain, Chloé Delaume and Éric Chevillard. Each author is analysed in a dedicated chapter exploring their autofictional œuvres, yielding three key trends. These are: the proliferation of intertextual references, ludic representations of the genre, and the creation of an autofictional body by the
reader through autofictional personae. In each chapter I examine the construction of
these personae, revealing a separation between selfhood constructed in language and
questions of the body, both of the autofictional personae as well as characters within the text. Other characters within the texts expose complex constructions of gender that range from a rejection of male characters to the homogenisation of female characters reduced to stereotypes. Depictions of the intimate sphere within autofiction, including relationships and gendered constructs, are analysed in order to situate autofiction as a genre. Through the discussion of autofictional personae pivotal in this conception of autofiction, this thesis posits that representations of the body – within and beyond language – are the key to understanding autofictional performances.Nature and death in the poetry of al-Malā'ika, al-Shābbī and Shukrī, and certain English Romantic poets : a comparative studyHussein, Ronak Hassanhttp://hdl.handle.net/10023/71382016-03-28T13:15:08Z1989-01-01T00:00:00ZThe first part of this thesis, divided into two
chapters, deals with the early background of European
Romanticism; the reasons behind its appearance and
problems of definition. There follows a discussion on
the question of the originality of Arabic Romanticism,
with ,a brief review of the roots and main literary groups
of this movement in Arabic poetry.
Part two examines the influence of English poetry
and thought on three Arab Romantic poets: Nāzik Sādiq
al-Malā'ika, Abū al-Qāsim al-Shābbī and
Abd aI-Rahmān Shukrī.
This is discussed parallel with the channels of
this influence.
The main focus of this research is however, to show
the ways in which al-Malā'ika, al-Shābbī and Shukrī perceived and reflected nature and death in their poetry.
Their attitudes towards certain phenomena in nature
such as the countryside, night, the sea, childhood and
moral and social lessons of nature are compared with
certain attitudes of Wordsworth, Coleridge, Keats and
Shelley.
Themes such as life and death, fear of death,
fatalism, immortality and death as a welcome experience
are also the concern of this thesis, with a comparison of
these themes in the poetry of the Arab and English
Romantic poets.
However, owing to the popularity of Keats and
Shelley with the three Arab Romantic poets, this thesis
concentrates on their poetry.
This research has selected only certain phenomena
and themes from nature--and death because of the dominance
of these subjects in the poetry of al-Malā'ika, al-Shābbī and Shukrī. The translations of Arabic poetry in this thesis are
intended to convey the general sense of the source texts,
rather than to give a precise rendering of these texts
into English.
1989-01-01T00:00:00ZHussein, Ronak HassanThe first part of this thesis, divided into two
chapters, deals with the early background of European
Romanticism; the reasons behind its appearance and
problems of definition. There follows a discussion on
the question of the originality of Arabic Romanticism,
with ,a brief review of the roots and main literary groups
of this movement in Arabic poetry.
Part two examines the influence of English poetry
and thought on three Arab Romantic poets: Nāzik Sādiq
al-Malā'ika, Abū al-Qāsim al-Shābbī and
Abd aI-Rahmān Shukrī.
This is discussed parallel with the channels of
this influence.
The main focus of this research is however, to show
the ways in which al-Malā'ika, al-Shābbī and Shukrī perceived and reflected nature and death in their poetry.
Their attitudes towards certain phenomena in nature
such as the countryside, night, the sea, childhood and
moral and social lessons of nature are compared with
certain attitudes of Wordsworth, Coleridge, Keats and
Shelley.
Themes such as life and death, fear of death,
fatalism, immortality and death as a welcome experience
are also the concern of this thesis, with a comparison of
these themes in the poetry of the Arab and English
Romantic poets.
However, owing to the popularity of Keats and
Shelley with the three Arab Romantic poets, this thesis
concentrates on their poetry.
This research has selected only certain phenomena
and themes from nature--and death because of the dominance
of these subjects in the poetry of al-Malā'ika, al-Shābbī and Shukrī. The translations of Arabic poetry in this thesis are
intended to convey the general sense of the source texts,
rather than to give a precise rendering of these texts
into English.Intellectuals as sacrificial heroes : a comparative study of Bahram Beyzaie and Wole SoyinkaTalajooy, Saeedhttp://hdl.handle.net/10023/71342018-01-07T03:01:02Z2015-07-25T00:00:00ZA study of Bahram Beyzaie and Wole Soyinka’s works reveals how in two disparate cultural settings, traditional structures and themes appear in modern forms to renegotiate people’s cultural identity. Both writers demythologize the ancient and modern superstitious beliefs that haunt their peoples, depict the fallacy of hybrid obsessions that distort everyday life in their countries, and mythologize the positive aspects of history to redefine cultural identity with the best their cultures offer. One aspect of this process is their depiction of creative intellectuals as sacrificial heroes. The form reveals their concern with the question of leadership and citizenship, the victimization of the educated people, and the resulting brain drain in their countries. In the paper that follows, I will compare Beyzaie and Soyinka’s depictions of intellectuals as sacrificial heroes. I will first study the dramatic origins of their forms and their approach to tragedy, myth, history, and sacrificial heroism, and explore the sociopolitical and personal reasons for the development of their forms. My intention is to discover how these forms evolved and why they reflect similar paradigms. I will then compare Beyzaie’s Parchment of Master Sharzin with Soyinka’s Madmen and Specialists to provide textual examples of these similarities and differences.
2015-07-25T00:00:00ZTalajooy, SaeedA study of Bahram Beyzaie and Wole Soyinka’s works reveals how in two disparate cultural settings, traditional structures and themes appear in modern forms to renegotiate people’s cultural identity. Both writers demythologize the ancient and modern superstitious beliefs that haunt their peoples, depict the fallacy of hybrid obsessions that distort everyday life in their countries, and mythologize the positive aspects of history to redefine cultural identity with the best their cultures offer. One aspect of this process is their depiction of creative intellectuals as sacrificial heroes. The form reveals their concern with the question of leadership and citizenship, the victimization of the educated people, and the resulting brain drain in their countries. In the paper that follows, I will compare Beyzaie and Soyinka’s depictions of intellectuals as sacrificial heroes. I will first study the dramatic origins of their forms and their approach to tragedy, myth, history, and sacrificial heroism, and explore the sociopolitical and personal reasons for the development of their forms. My intention is to discover how these forms evolved and why they reflect similar paradigms. I will then compare Beyzaie’s Parchment of Master Sharzin with Soyinka’s Madmen and Specialists to provide textual examples of these similarities and differences.The phonematics, phonotactics and para-phonotactics of southern Standard British EnglishEl-Shakfeh, Fawzihttp://hdl.handle.net/10023/70902016-03-28T11:10:13Z1987-01-01T00:00:00ZAs the title indicates, this thesis is concerned with a
thorough investigation of the "phonematic", "phonotactic" and
"para-phonotactic" sub-systems of Southern Standard British
English from the view-point of the theory of Axiomatic
Functionalism.
Like a sonata, this work is divided into three PARTS, and
each PART is divided into a number of Chapters. Some of the
Chapters are further divided into yet smaller Sections for
simplicity reasons. [Only transcribed in part due to abstract length].
1987-01-01T00:00:00ZEl-Shakfeh, FawziAs the title indicates, this thesis is concerned with a
thorough investigation of the "phonematic", "phonotactic" and
"para-phonotactic" sub-systems of Southern Standard British
English from the view-point of the theory of Axiomatic
Functionalism.
Like a sonata, this work is divided into three PARTS, and
each PART is divided into a number of Chapters. Some of the
Chapters are further divided into yet smaller Sections for
simplicity reasons. [Only transcribed in part due to abstract length].A critical edition of al-Durr al-Maknūn fī al-Ma'āthir al-Mādiya min al-Qurūn of Yāsīn al-'umarī (920-1226 A.H. = 1514/15 A.D. - 1811/12 A.D.)Al-Jamīl, Sayyār K.http://hdl.handle.net/10023/70732016-03-28T12:25:36Z1983-01-01T00:00:00ZThis thesis is a critical edition of "al-Durr al-Maknūn fī
al-Ma'āthir al-Māḍiya min al-Ǫurūn" (DUR.) by the Iraqi historian,
Yāsīn Efendi al-Khaṭīb al-'Umarī al-Mawṣilī, 1158-1234 A.H. = 1745-
1818 A. D. covering the years 920 A. H. -1226 A. H. (= 1514/1515 A. D.-
1811/1812 A. D. ).
The present thesis consists of three parts, and is divided into
three volumes. The first part (Vol. I, Introduction and Notes) contains
the introduction to DUR., in four chapters, with a supplement. Chapter
one is composed of two sections I
the first of which deals with the
author's personality and his biography: name and nisba , titles and kunya,
birth, background, knowledge, character, mystical leanings, social
standing, and his death. The second section deals with the author's
family (the 'Umarī’s in MosuI). The second chapter is divided into two
sections, the first is a list of all the author's works; historical, poetical,
and literary, and his Naskhiyyāt. The second section is a study of the
author's historical works. This study deals analytically with each work
in turn. The third chapter is a study of the relevant MSS. The historical
structure of these MSS is examined, and the MSS of DUR. are described
individually; orthography and the style of the author…etc. are also
investigated. The fourth chapter is a study of the text of DUR. It
contains two sections. In the first section, peculiarities of the text are
outlined as are the name of the work, the sources, the work as history,
its literary forms, geographical elements and economic information.
Section two comprises a study of the historical content which is embodied
in this thesis under the following headings: a) Biographical material,
b) Annals, c) Contemporary chronicles, d) Local History. Historical
content of the biographical material is analysed, as also is the
historical material in other fields. The annals cover: 1) The Ottoman
conflict with Iran, 2) Eastern Europe, 3) The Mediterranean, 4) Russia
and Poland. Also covered in the contemporary chronicles are: 1) The
French Revolution, 2) Napoleon Bonaparte, 3) The Ashrāf of Mecca,
4) The Syrian provinces,S) Salafiyya and Wahhābiyya, 6) Istanbul,
7) Iraq. Local historical subjects covered are: 1) The local powers
in the Middle East during the 18th century, 2) Iraq during the 18th
century, and 3) The local history of Mosul. The last subject is studied
in detail because it is of considerable importance in DUR. which contains
full details of the Jalīlī house in Mosul during the 18th century. The
additional supplement deals with the methods employed in editing DUR.
This volume also contains appendices, tables, diagrams, maps,
lists and bibliographies. Of these appendices attention is drawn to
“Appe No. 1": (= Notes to the Text) which contains explanatory comments
and emendations.
The second part of the thesis (Vol. II Text) contains the text of
the first version of DUR. (= DUR. 1 : MSS v and pl.
The third part of the thesis (Vol. III, "Apparatus Criticus") contains
a comparison of the DUR. 1 and DUR. 2 MSS (= v, p, Bn, B, BR)i it also
contains the additional material from DUR. 2 (= MSS Bn, B, BR). In this
volume, there is also a supplement of additional historical material,
covering the period 1218-1226 A.H. (= 1803-1811 A.D.), taken from DUR. 2
(= MS Bn). This is compared with MSS Band BR.
1983-01-01T00:00:00ZAl-Jamīl, Sayyār K.This thesis is a critical edition of "al-Durr al-Maknūn fī
al-Ma'āthir al-Māḍiya min al-Ǫurūn" (DUR.) by the Iraqi historian,
Yāsīn Efendi al-Khaṭīb al-'Umarī al-Mawṣilī, 1158-1234 A.H. = 1745-
1818 A. D. covering the years 920 A. H. -1226 A. H. (= 1514/1515 A. D.-
1811/1812 A. D. ).
The present thesis consists of three parts, and is divided into
three volumes. The first part (Vol. I, Introduction and Notes) contains
the introduction to DUR., in four chapters, with a supplement. Chapter
one is composed of two sections I
the first of which deals with the
author's personality and his biography: name and nisba , titles and kunya,
birth, background, knowledge, character, mystical leanings, social
standing, and his death. The second section deals with the author's
family (the 'Umarī’s in MosuI). The second chapter is divided into two
sections, the first is a list of all the author's works; historical, poetical,
and literary, and his Naskhiyyāt. The second section is a study of the
author's historical works. This study deals analytically with each work
in turn. The third chapter is a study of the relevant MSS. The historical
structure of these MSS is examined, and the MSS of DUR. are described
individually; orthography and the style of the author…etc. are also
investigated. The fourth chapter is a study of the text of DUR. It
contains two sections. In the first section, peculiarities of the text are
outlined as are the name of the work, the sources, the work as history,
its literary forms, geographical elements and economic information.
Section two comprises a study of the historical content which is embodied
in this thesis under the following headings: a) Biographical material,
b) Annals, c) Contemporary chronicles, d) Local History. Historical
content of the biographical material is analysed, as also is the
historical material in other fields. The annals cover: 1) The Ottoman
conflict with Iran, 2) Eastern Europe, 3) The Mediterranean, 4) Russia
and Poland. Also covered in the contemporary chronicles are: 1) The
French Revolution, 2) Napoleon Bonaparte, 3) The Ashrāf of Mecca,
4) The Syrian provinces,S) Salafiyya and Wahhābiyya, 6) Istanbul,
7) Iraq. Local historical subjects covered are: 1) The local powers
in the Middle East during the 18th century, 2) Iraq during the 18th
century, and 3) The local history of Mosul. The last subject is studied
in detail because it is of considerable importance in DUR. which contains
full details of the Jalīlī house in Mosul during the 18th century. The
additional supplement deals with the methods employed in editing DUR.
This volume also contains appendices, tables, diagrams, maps,
lists and bibliographies. Of these appendices attention is drawn to
“Appe No. 1": (= Notes to the Text) which contains explanatory comments
and emendations.
The second part of the thesis (Vol. II Text) contains the text of
the first version of DUR. (= DUR. 1 : MSS v and pl.
The third part of the thesis (Vol. III, "Apparatus Criticus") contains
a comparison of the DUR. 1 and DUR. 2 MSS (= v, p, Bn, B, BR)i it also
contains the additional material from DUR. 2 (= MSS Bn, B, BR). In this
volume, there is also a supplement of additional historical material,
covering the period 1218-1226 A.H. (= 1803-1811 A.D.), taken from DUR. 2
(= MS Bn). This is compared with MSS Band BR.Between two worlds : the fairy-tale novels of Aleksandr Fomich Vel'tmanWalmsley, Keithhttp://hdl.handle.net/10023/70512016-03-28T12:26:34Z2014-01-01T00:00:00ZBetween Two Worlds: The Fairy-Tale Novels of Aleksandr Fomich Vel'tman is a thesis devoted to
four of the author’s novels published during the 1830s and 1840s: Koshchei bessmertnyi (1833),
Svetoslavich, vrazhii pitomets (1835), Serdtse i Dumka (1838) and Novyi Emelia, ili Prevrashcheniia
(1845). It argues for the typological unity of these works based on their prominent use of fairy-tale
structures and motifs, and analyses them against the backdrop of their nineteenth-century context,
relating them to the emergence and development of the ‘Romantic fairy tale’ as a literary genre
throughout Europe and to the philosophical and intellectual environment in which they were written.
The thesis thereby seeks to posit these novels as a unique, yet nevertheless organic, response to
contemporary aesthetic issues and trends and to challenge dominant perceptions of Vel’tman’s fiction
as idiosyncratic and unapproachable.
The title itself, Between Two Worlds, reflects the two trajectories of investigation that the thesis
will endeavour to pursue: the paradigmatic, in an analysis of the interplay of fairy-tale and mimetic
elements within the texts, and the diachronic, in viewing how this interplay changes over the course of
the novels against the backdrop of the broader aesthetic evolution from Romanticism to Critical
Realism in Russian letters. After establishing a typological model for the volshebnaia skazka it will
argue that the form is employed in these four works as a discourse of the self, and serves to actualize
the relationship between the individual and the world, the ideal and the real.
Employing a methodology that draws on various psychoanalytical models it will discuss how, in
contemporary theory, the fairy tale can be read symbolically as a discourse of personal development
to meaningful interaction with the surrounding world. Subsequently, it will proceed to show how
Vel’tman’s use of the form in his novelistic creations self-consciously problematizes this basic idea,
as the fairy tale is alternately presented as facilitator of, and obstacle to, such growth. It will analyse in
particular how these novels suggest different readings of the fairy tale and, through a comparison with
other generic systems, different conceptions of its potential truth. Ultimately, it will argue that the
ambiguity of the fairy tale in these works stems from its dual status as both symbolic discourse and
cultural artefact, and that they are as much ‘novels about fairy tales’ as they are ‘fairy-tale novels’.
2014-01-01T00:00:00ZWalmsley, KeithBetween Two Worlds: The Fairy-Tale Novels of Aleksandr Fomich Vel'tman is a thesis devoted to
four of the author’s novels published during the 1830s and 1840s: Koshchei bessmertnyi (1833),
Svetoslavich, vrazhii pitomets (1835), Serdtse i Dumka (1838) and Novyi Emelia, ili Prevrashcheniia
(1845). It argues for the typological unity of these works based on their prominent use of fairy-tale
structures and motifs, and analyses them against the backdrop of their nineteenth-century context,
relating them to the emergence and development of the ‘Romantic fairy tale’ as a literary genre
throughout Europe and to the philosophical and intellectual environment in which they were written.
The thesis thereby seeks to posit these novels as a unique, yet nevertheless organic, response to
contemporary aesthetic issues and trends and to challenge dominant perceptions of Vel’tman’s fiction
as idiosyncratic and unapproachable.
The title itself, Between Two Worlds, reflects the two trajectories of investigation that the thesis
will endeavour to pursue: the paradigmatic, in an analysis of the interplay of fairy-tale and mimetic
elements within the texts, and the diachronic, in viewing how this interplay changes over the course of
the novels against the backdrop of the broader aesthetic evolution from Romanticism to Critical
Realism in Russian letters. After establishing a typological model for the volshebnaia skazka it will
argue that the form is employed in these four works as a discourse of the self, and serves to actualize
the relationship between the individual and the world, the ideal and the real.
Employing a methodology that draws on various psychoanalytical models it will discuss how, in
contemporary theory, the fairy tale can be read symbolically as a discourse of personal development
to meaningful interaction with the surrounding world. Subsequently, it will proceed to show how
Vel’tman’s use of the form in his novelistic creations self-consciously problematizes this basic idea,
as the fairy tale is alternately presented as facilitator of, and obstacle to, such growth. It will analyse in
particular how these novels suggest different readings of the fairy tale and, through a comparison with
other generic systems, different conceptions of its potential truth. Ultimately, it will argue that the
ambiguity of the fairy tale in these works stems from its dual status as both symbolic discourse and
cultural artefact, and that they are as much ‘novels about fairy tales’ as they are ‘fairy-tale novels’.The emergence of post-hybrid identities : a comparative analysis of national identity formations in Germany’s contemporary hip-hop cultureMunderloh, Marissa K.http://hdl.handle.net/10023/69122016-03-28T12:51:57Z2016-06-25T00:00:00ZThis thesis examines how hip-hop has become a meaningful cultural movement for contemporary artists in Hamburg and in Oldenburg. The comparative analysis is guided by a three-dimensional theoretical framework that considers the spatial, historical and social influences, which have shaped hip-hop music, dance, rap and graffiti art in the USA and subsequently in the two northern German cities. The research methods entail participant observation, semi-structured interviews and a close reading of hip-hop’s cultural texts in the form of videos, photographs and lyrics. The first chapter analyses the manifestation of hip-hop music in Hamburg. The second chapter looks at the local adaptation of hip-hop’s dance styles. The last two chapters on rap and graffiti art present a comparative analysis between the art forms’ appropriation in Hamburg and in Oldenburg.
In comparing hip-hop’s four main elements and their practices in two distinct cities, this research project expands current German hip-hop scholarship beyond the common focus on rap, especially in terms of rap being a voice of the minority. It also offers insights into the ways in which artists express their local, regional or national identity as a culturally hybrid state, since hip-hop’s art forms have always been the result of cultural and artistic mixture. The theoretical focus on spatiality, historicality and sociality moreover reveals different and even contradicting manifestations of cultural hybridity and identity in hip-hop. In particular, this thesis looks at the formation of post-hybrid identities, with which hip-hop artists aim at expressing their multiculturality as an inherent part of their life in Germany.
2016-06-25T00:00:00ZMunderloh, Marissa K.This thesis examines how hip-hop has become a meaningful cultural movement for contemporary artists in Hamburg and in Oldenburg. The comparative analysis is guided by a three-dimensional theoretical framework that considers the spatial, historical and social influences, which have shaped hip-hop music, dance, rap and graffiti art in the USA and subsequently in the two northern German cities. The research methods entail participant observation, semi-structured interviews and a close reading of hip-hop’s cultural texts in the form of videos, photographs and lyrics. The first chapter analyses the manifestation of hip-hop music in Hamburg. The second chapter looks at the local adaptation of hip-hop’s dance styles. The last two chapters on rap and graffiti art present a comparative analysis between the art forms’ appropriation in Hamburg and in Oldenburg.
In comparing hip-hop’s four main elements and their practices in two distinct cities, this research project expands current German hip-hop scholarship beyond the common focus on rap, especially in terms of rap being a voice of the minority. It also offers insights into the ways in which artists express their local, regional or national identity as a culturally hybrid state, since hip-hop’s art forms have always been the result of cultural and artistic mixture. The theoretical focus on spatiality, historicality and sociality moreover reveals different and even contradicting manifestations of cultural hybridity and identity in hip-hop. In particular, this thesis looks at the formation of post-hybrid identities, with which hip-hop artists aim at expressing their multiculturality as an inherent part of their life in Germany.Charles Baudelaire's translations of Edgar Allan PoeSemichon, Laurenthttp://hdl.handle.net/10023/68712016-03-28T13:07:19Z2003-01-01T00:00:00ZAlthough one of the best-known cases of intercultural literary partnership, Charles Baudelaire’s translations of Edgar Allan Poe’s works have been little analysed with a methodology appropriate to Translation Studies. Relying on a functionally target-oriented approach to translation and an empirical methodology, the present thesis undertakes this analysis.
Positioning the prospective function(s) of the translations as intended by the translator within their historical context, Chapter One explores the para-discourse of the translator and its contemporary reception. Beyond the Romantic critical tradition of the whole project, Baudelaire’s introductory writings on Poe appear to target in a propagandist way the literary elite of the time. On the contrary, the selection and organization of the five volumes of translations for publication suggest primarily a popularising strategy intended to capture, through the fictional genre, the attention of the growing mass audience of the Second Empire.
In Chapters Two and Three, traditional appraisals of the translations in terms of quality assessment are questioned in favour of an explanation of interpretative frameworks and translation strategies as seen through the analyses of two translated tales and of textual variables throughout the corpus. Baudelaire’s biographical interpretation of the narrative voice combines with clear strategies to normalize the stylistic authority of the texts and to increase their dramatic and expressive impact, offering in the end a less rhetorical, but aesthetically more Romantic and narratively more Realist reading of Poe’s fantastic tales. Baudelaire would thus have managed to reconcile at a textual level the ambiguities of his para-discourse in terms of targeted readership as seen in Chapter One. It is finally argued that beyond the constraints of the receiving system and the strategies of the translator to accommodate these, the French image of Poe as produced by Baudelaire owes much to a French resistance to the narrative ambiguity and style that Poe’s writing represents.
Confirming or challenging existing criticism on the Poe-Baudelaire case, the present thesis thus hopes to contribute, not only to our relatively limited knowledge of mid-nineteenth-century French translation, but also to our understanding of French short fiction and its conflicting stakes in terms of aesthetics and readership.
2003-01-01T00:00:00ZSemichon, LaurentAlthough one of the best-known cases of intercultural literary partnership, Charles Baudelaire’s translations of Edgar Allan Poe’s works have been little analysed with a methodology appropriate to Translation Studies. Relying on a functionally target-oriented approach to translation and an empirical methodology, the present thesis undertakes this analysis.
Positioning the prospective function(s) of the translations as intended by the translator within their historical context, Chapter One explores the para-discourse of the translator and its contemporary reception. Beyond the Romantic critical tradition of the whole project, Baudelaire’s introductory writings on Poe appear to target in a propagandist way the literary elite of the time. On the contrary, the selection and organization of the five volumes of translations for publication suggest primarily a popularising strategy intended to capture, through the fictional genre, the attention of the growing mass audience of the Second Empire.
In Chapters Two and Three, traditional appraisals of the translations in terms of quality assessment are questioned in favour of an explanation of interpretative frameworks and translation strategies as seen through the analyses of two translated tales and of textual variables throughout the corpus. Baudelaire’s biographical interpretation of the narrative voice combines with clear strategies to normalize the stylistic authority of the texts and to increase their dramatic and expressive impact, offering in the end a less rhetorical, but aesthetically more Romantic and narratively more Realist reading of Poe’s fantastic tales. Baudelaire would thus have managed to reconcile at a textual level the ambiguities of his para-discourse in terms of targeted readership as seen in Chapter One. It is finally argued that beyond the constraints of the receiving system and the strategies of the translator to accommodate these, the French image of Poe as produced by Baudelaire owes much to a French resistance to the narrative ambiguity and style that Poe’s writing represents.
Confirming or challenging existing criticism on the Poe-Baudelaire case, the present thesis thus hopes to contribute, not only to our relatively limited knowledge of mid-nineteenth-century French translation, but also to our understanding of French short fiction and its conflicting stakes in terms of aesthetics and readership.Marriage and desire in seventeenth-century French comedyTownshend, Sarah Elizabethhttp://hdl.handle.net/10023/68122016-09-28T08:37:07Z2015-06-25T00:00:00ZThis thesis re-examines the role of marriage in the golden age of seventeenth-century French comedy. It reconsiders received wisdom on the subject to challenge acceptance
of the final promise of marriage as a dénouement complet to comedy. Through an analysis of the themes of discontent, cuckoldry, fertility, non-heteronormative desire and widowhood, it offers an alternative view of what comedy can encompass. Close reading of works by Molière, Quinault, (Thomas) Corneille, (Françoise) Pascal, Ulrich and de
Visé establishes that comedy can be both enjoyable and satisfying while incorporating
elements that conflict with the marriage ideal. This thesis does not attempt to provide a full socio-historical reading of seventeenth-century attitudes to marriage, although an understanding of contemporary attitudes provides a starting point for close textual analysis. Critical theories, notably gender theory, are used where appropriate to further clarify the role of marriage in comedy.
Chapter One presents and problematizes the framework of marriage as the structuring principle of comedy, drawing on themes of compatibility, discontent and desire. The second chapter focuses on anxiety regarding cuckoldry in comedy, relating it to the promise of marriage. An analysis of the desires of older characters in projected
comedic marriages, particularly as these desires relate to fertility, is the guiding
principle of Chapter Three, which also sets out essential terms of reference for the
fourth chapter on widowhood and queer desire. The thesis demonstrates that rather than constituting a satisfying and happy ending, a constant challenge is posed to the promise of marriage by on-stage marriages, fears of cuckoldry, widowhood, and ‘inappropriate’ or queer desires. I propose a more nuanced reading, showing that comedy can be fully satisfying and structurally complete without a final promise of marriage, and that, rather, comedy can incorporate significant elements that appear antithetical to the ideal of marriage typically associated with the genre.
2015-06-25T00:00:00ZTownshend, Sarah ElizabethThis thesis re-examines the role of marriage in the golden age of seventeenth-century French comedy. It reconsiders received wisdom on the subject to challenge acceptance
of the final promise of marriage as a dénouement complet to comedy. Through an analysis of the themes of discontent, cuckoldry, fertility, non-heteronormative desire and widowhood, it offers an alternative view of what comedy can encompass. Close reading of works by Molière, Quinault, (Thomas) Corneille, (Françoise) Pascal, Ulrich and de
Visé establishes that comedy can be both enjoyable and satisfying while incorporating
elements that conflict with the marriage ideal. This thesis does not attempt to provide a full socio-historical reading of seventeenth-century attitudes to marriage, although an understanding of contemporary attitudes provides a starting point for close textual analysis. Critical theories, notably gender theory, are used where appropriate to further clarify the role of marriage in comedy.
Chapter One presents and problematizes the framework of marriage as the structuring principle of comedy, drawing on themes of compatibility, discontent and desire. The second chapter focuses on anxiety regarding cuckoldry in comedy, relating it to the promise of marriage. An analysis of the desires of older characters in projected
comedic marriages, particularly as these desires relate to fertility, is the guiding
principle of Chapter Three, which also sets out essential terms of reference for the
fourth chapter on widowhood and queer desire. The thesis demonstrates that rather than constituting a satisfying and happy ending, a constant challenge is posed to the promise of marriage by on-stage marriages, fears of cuckoldry, widowhood, and ‘inappropriate’ or queer desires. I propose a more nuanced reading, showing that comedy can be fully satisfying and structurally complete without a final promise of marriage, and that, rather, comedy can incorporate significant elements that appear antithetical to the ideal of marriage typically associated with the genre.Rendez-vous manqués : de qui, de quoi la poésie est-elle (la) contemporaine? (Mallarmé, Rancière)Laügt, E.http://hdl.handle.net/10023/67452018-01-07T03:01:36Z2015-03-01T00:00:00Z2015-03-01T00:00:00ZLaügt, E.The geopolitics of spectatorship and screen identification : what's queer about Italian cinema?Duncan, Derek Egertonhttp://hdl.handle.net/10023/67152018-01-07T02:44:33Z2013-06-01T00:00:00Z2013-06-01T00:00:00ZDuncan, Derek EgertonCALIFA, the Calar Alto Legacy Integral Field Area survey : III. Second public data releaseGarcía-Benito, R.Zibetti, S.Sánchez, S. F.Husemann, B.de Amorim, A. L.Castillo-Morales, A.Cid Fernandes, R.Ellis, S. C.Falcón-Barroso, J.Galbany, L.Gil de Paz, A.González Delgado, R. M.Lacerda, E. A. D.López-Fernandez, R.de Lorenzo-Cáceres, A.Lyubenova, M.Marino, R. A.Mast, D.Mendoza, M. A.Pérez, E.Vale Asari, N.Aguerri, J. A. L.Ascasibar, Y.Bekerait*error*ė, S.Bland-Hawthorn, J.Barrera-Ballesteros, J. K.Bomans, D. J.Cano-Díaz, M.Catalán-Torrecilla, C.Cortijo, C.Delgado-Inglada, G.Demleitner, M.Dettmar, R.-J.Díaz, A. I.Florido, E.Gallazzi, A.García-Lorenzo, B.Gomes, J. M.Holmes, L.Iglesias-Páramo, J.Jahnke, K.Kalinova, V.Kehrig, C.Kennicutt, R. C.López-Sánchez, Á. R.Márquez, I.Masegosa, J.Meidt, S. E.Mendez-Abreu, J.Mollá, M.Monreal-Ibero, A.Morisset, C.del Olmo, A.Papaderos, P.Pérez, I.Quirrenbach, A.Rosales-Ortega, F. F.Roth, M. M.Ruiz-Lara, T.Sánchez-Blázquez, P.Sánchez-Menguiano, L.Singh, R.Spekkens, K.Stanishev, V.Torres-Papaqui, J. P.van de Ven, G.Vilchez, J. M.Walcher, C. J.Wild, V.Wisotzki, L.Ziegler, B.Alves, J.Barrado, D.Quintana, J. M.Aceituno, J.http://hdl.handle.net/10023/66642018-03-11T01:33:28Z2015-04-01T00:00:00ZThis paper describes the Second Public Data Release (DR2) of the Calar Alto Legacy Integral Field Area (CALIFA) survey. The data for 200 objects are made public, including the 100 galaxies of the First Public Data Release (DR1). Data were obtained with the integral-field spectrograph PMAS/PPak mounted on the 3.5 m telescope at the Calar Alto observatory. Two different spectral setups are available for each galaxy, (i) a low-resolution V500 setup covering the wavelength range 3745-7500 Å with a spectral resolution of 6.0 Å (FWHM); and (ii) a medium-resolution V1200 setup covering the wavelength range 3650-4840 Å with a spectral resolution of 2.3 Å (FWHM). The sample covers a redshift range between 0.005 and 0.03, with a wide range of properties in the color-magnitude diagram, stellar mass, ionization conditions, and morphological types. All the cubes in the data release were reduced with the latest pipeline, which includes improvedspectrophotometric calibration, spatial registration, and spatial resolution. The spectrophotometric calibration is better than 6% and the median spatial resolution is 2.4. In total, the second data release contains over 1.5 million spectra.
J.M.A. acknowledges support from the European Research Council Starting Grant (SEDmorph; P.I. V. Wild). V.W. acknowledges support from the European Research Council Starting Grant (SEDMorph P.I. V. Wild) and European Career Re-integration Grant (Phiz-Ev P.I. V. Wild).
2015-04-01T00:00:00ZGarcía-Benito, R.Zibetti, S.Sánchez, S. F.Husemann, B.de Amorim, A. L.Castillo-Morales, A.Cid Fernandes, R.Ellis, S. C.Falcón-Barroso, J.Galbany, L.Gil de Paz, A.González Delgado, R. M.Lacerda, E. A. D.López-Fernandez, R.de Lorenzo-Cáceres, A.Lyubenova, M.Marino, R. A.Mast, D.Mendoza, M. A.Pérez, E.Vale Asari, N.Aguerri, J. A. L.Ascasibar, Y.Bekerait*error*ė, S.Bland-Hawthorn, J.Barrera-Ballesteros, J. K.Bomans, D. J.Cano-Díaz, M.Catalán-Torrecilla, C.Cortijo, C.Delgado-Inglada, G.Demleitner, M.Dettmar, R.-J.Díaz, A. I.Florido, E.Gallazzi, A.García-Lorenzo, B.Gomes, J. M.Holmes, L.Iglesias-Páramo, J.Jahnke, K.Kalinova, V.Kehrig, C.Kennicutt, R. C.López-Sánchez, Á. R.Márquez, I.Masegosa, J.Meidt, S. E.Mendez-Abreu, J.Mollá, M.Monreal-Ibero, A.Morisset, C.del Olmo, A.Papaderos, P.Pérez, I.Quirrenbach, A.Rosales-Ortega, F. F.Roth, M. M.Ruiz-Lara, T.Sánchez-Blázquez, P.Sánchez-Menguiano, L.Singh, R.Spekkens, K.Stanishev, V.Torres-Papaqui, J. P.van de Ven, G.Vilchez, J. M.Walcher, C. J.Wild, V.Wisotzki, L.Ziegler, B.Alves, J.Barrado, D.Quintana, J. M.Aceituno, J.This paper describes the Second Public Data Release (DR2) of the Calar Alto Legacy Integral Field Area (CALIFA) survey. The data for 200 objects are made public, including the 100 galaxies of the First Public Data Release (DR1). Data were obtained with the integral-field spectrograph PMAS/PPak mounted on the 3.5 m telescope at the Calar Alto observatory. Two different spectral setups are available for each galaxy, (i) a low-resolution V500 setup covering the wavelength range 3745-7500 Å with a spectral resolution of 6.0 Å (FWHM); and (ii) a medium-resolution V1200 setup covering the wavelength range 3650-4840 Å with a spectral resolution of 2.3 Å (FWHM). The sample covers a redshift range between 0.005 and 0.03, with a wide range of properties in the color-magnitude diagram, stellar mass, ionization conditions, and morphological types. All the cubes in the data release were reduced with the latest pipeline, which includes improvedspectrophotometric calibration, spatial registration, and spatial resolution. The spectrophotometric calibration is better than 6% and the median spatial resolution is 2.4. In total, the second data release contains over 1.5 million spectra.'We are now the true Spaniards' : sovereignty, revolution, independence, and the emergence of the federal republic of Mexico, 1808-1824Fowler, Willhttp://hdl.handle.net/10023/65912017-12-31T00:33:38Z2014-05-01T00:00:00Z2014-05-01T00:00:00ZFowler, WillNigel Dennis (1949-2013)San Roman, Gustavohttp://hdl.handle.net/10023/65762017-12-31T00:32:45Z2013-11-01T00:00:00ZAn obituary for a St Andrews colleague
2013-11-01T00:00:00ZSan Roman, GustavoAn obituary for a St Andrews colleagueThe German Occupation in recent French fiction : an analysis of the literary “mode retro”Morris, Alan I.http://hdl.handle.net/10023/64622016-03-28T12:33:32Z1985-07-01T00:00:00ZThis thesis attempts to analyse and characterise the mode rétro, the remarkable renewal of interest in the German Occupation of France, which is coloured by an extensive re-evaluation of the period's significance. An introduction places this fashion in its literary, social and historical context, revealing how, from 1940 to 1969, a collective and predominantly Gaullist 'myth' of the Resistance became established, with the result that the national response to invasion was accepted to be one of wide-spread heroism and revolt. Part I studies the reaction to such résistancialisme, showing how this orthodox interpretation of events was undermined and, for many, discredited, and offering explanations of the timing and direction of the new view. Part II focuses on the fiction, memoirs, autobiographies and biographies of the younger authors, those who have no direct adult experience of the années noires. It is suggested that their obvious obsession with absent parent-figures reflects their awareness that the past has been misrepresented and their heritage rendered problematic. Their sole means of escape from this predicament, their only source of emotional relief is seen to lie in the creation of a personal account of the early 1940s running contrary to the prevalent orthodoxy, the fabrication of a 'counter-myth'. It is thus the notion of myth which links the various sections of the survey, and so gives the thesis its overall unity.
1985-07-01T00:00:00ZMorris, Alan I.This thesis attempts to analyse and characterise the mode rétro, the remarkable renewal of interest in the German Occupation of France, which is coloured by an extensive re-evaluation of the period's significance. An introduction places this fashion in its literary, social and historical context, revealing how, from 1940 to 1969, a collective and predominantly Gaullist 'myth' of the Resistance became established, with the result that the national response to invasion was accepted to be one of wide-spread heroism and revolt. Part I studies the reaction to such résistancialisme, showing how this orthodox interpretation of events was undermined and, for many, discredited, and offering explanations of the timing and direction of the new view. Part II focuses on the fiction, memoirs, autobiographies and biographies of the younger authors, those who have no direct adult experience of the années noires. It is suggested that their obvious obsession with absent parent-figures reflects their awareness that the past has been misrepresented and their heritage rendered problematic. Their sole means of escape from this predicament, their only source of emotional relief is seen to lie in the creation of a personal account of the early 1940s running contrary to the prevalent orthodoxy, the fabrication of a 'counter-myth'. It is thus the notion of myth which links the various sections of the survey, and so gives the thesis its overall unity.Literacy and the vernacular : a case study based on the post-colonial history of Mauritius, with particular reference to Mauritian CreoleHills, Laurahttp://hdl.handle.net/10023/64542016-03-28T12:23:40Z2001-01-01T00:00:00ZThis thesis examines the process of the literization of the vernacular, and seeks to establish the island of Mauritius as a case study of this process. The concept of literization equates standardization of the vernacular with its use as a written language. Four issues are established as central to this process: ideological, educational, sociocultural and technical.
The thesis investigates the particular sociolinguistic situation of Mauritius, and examines each of these issues in relation to Mauritian Creole. It demonstrates the role that Mauritian Creole plays in Mauritian society, and how, since independence, issues relating to ideology, education, and the cultural and technical aspects of standardization, have been involved in the promotion of the language. The interaction between these issues is apparent throughout the thesis, and manifested in the work of Ledikasyon pu Travayer (LPT), the only organization in Mauritius to provide literacy tuition in Mauritian Creole. The thesis seeks to show that their unified approach to literacy, standardization, and the promotion of Mauritian Creole exemplifies the issues involved, and provides the best basis for the establishment of Mauritian Creole as a standard language.
The analysis of the situation in Mauritius within the framework of wider issues of the literization of the vernacular permits a comparison to other former colonies facing problems of language choice, and places these issues within the wider sociolinguistic context of standardization.
2001-01-01T00:00:00ZHills, LauraThis thesis examines the process of the literization of the vernacular, and seeks to establish the island of Mauritius as a case study of this process. The concept of literization equates standardization of the vernacular with its use as a written language. Four issues are established as central to this process: ideological, educational, sociocultural and technical.
The thesis investigates the particular sociolinguistic situation of Mauritius, and examines each of these issues in relation to Mauritian Creole. It demonstrates the role that Mauritian Creole plays in Mauritian society, and how, since independence, issues relating to ideology, education, and the cultural and technical aspects of standardization, have been involved in the promotion of the language. The interaction between these issues is apparent throughout the thesis, and manifested in the work of Ledikasyon pu Travayer (LPT), the only organization in Mauritius to provide literacy tuition in Mauritian Creole. The thesis seeks to show that their unified approach to literacy, standardization, and the promotion of Mauritian Creole exemplifies the issues involved, and provides the best basis for the establishment of Mauritian Creole as a standard language.
The analysis of the situation in Mauritius within the framework of wider issues of the literization of the vernacular permits a comparison to other former colonies facing problems of language choice, and places these issues within the wider sociolinguistic context of standardization.Women and nature in the works of French female novelists, 1789-1815Margrave, Christie L.http://hdl.handle.net/10023/63912016-08-09T09:39:07Z2015-06-25T00:00:00ZOn account of their supposed link to nature, women in post-revolutionary France were pigeonholed into a very restrictive sphere that centred around domesticity and submission to their male counterparts. Yet this thesis shows how a number of women writers – Cottin, Genlis, Krüdener, Souza and Staël – re-appropriate nature in order to reclaim the voice denied to them and to their sex by the society in which they lived.
The five chapters of this thesis are structured to follow a number of critical junctures in the life of an adult woman: marriage, authorship, motherhood, madness and mortality. The opening sections to each chapter show why these areas of life generated particular problems for women at this time. Then, through in-depth analysis of primary texts, the chapters function in two ways. They examine how female novelists craft natural landscapes to expose and comment on the problems male-dominant society causes women to experience in France at this time. In addition, they show how female novelists employ descriptions of nature to highlight women’s responses to the pain and frustration that social issues provoke for them.
Scholars have thus far overlooked the natural settings within the works of female novelists of the late eighteenth and early nineteenth centuries. Yet, a re-evaluation of these natural settings, as suggested by this thesis, brings a new dimension to our appreciation of the works of these women writers and of their position as critics of contemporary society. Ultimately, an escape into nature on the part of female protagonists in these novels becomes the means by which their creators confront the everyday reality faced by women in the turbulent socio-historical era which followed the Revolution.
2015-06-25T00:00:00ZMargrave, Christie L.On account of their supposed link to nature, women in post-revolutionary France were pigeonholed into a very restrictive sphere that centred around domesticity and submission to their male counterparts. Yet this thesis shows how a number of women writers – Cottin, Genlis, Krüdener, Souza and Staël – re-appropriate nature in order to reclaim the voice denied to them and to their sex by the society in which they lived.
The five chapters of this thesis are structured to follow a number of critical junctures in the life of an adult woman: marriage, authorship, motherhood, madness and mortality. The opening sections to each chapter show why these areas of life generated particular problems for women at this time. Then, through in-depth analysis of primary texts, the chapters function in two ways. They examine how female novelists craft natural landscapes to expose and comment on the problems male-dominant society causes women to experience in France at this time. In addition, they show how female novelists employ descriptions of nature to highlight women’s responses to the pain and frustration that social issues provoke for them.
Scholars have thus far overlooked the natural settings within the works of female novelists of the late eighteenth and early nineteenth centuries. Yet, a re-evaluation of these natural settings, as suggested by this thesis, brings a new dimension to our appreciation of the works of these women writers and of their position as critics of contemporary society. Ultimately, an escape into nature on the part of female protagonists in these novels becomes the means by which their creators confront the everyday reality faced by women in the turbulent socio-historical era which followed the Revolution.Countermemory and the (Turkish-)German theatrical archive : reading the documentary remains of Emine Sevgi Özdamar’s Karagöz in Alamania (1986)Stewart, Lizziehttp://hdl.handle.net/10023/62612017-12-31T00:34:25Z2013-01-01T00:00:00ZTheatre history stands in a curious relation to the archive: created from physical, archival documents it then itself helps constitute or contest the ‘cultural archive’ which the ‘imagined community’ of a particular area, institution, state, or tradition, draws on. While Turkish-German literature has frequently been invoked in German studies and beyond as a ‘cultural archive’ which preserves ‘counter-narratives’ (Seyhan 3-4), or indexes a ‘transnational’ conception of the Federal Republic of Germany (Adelson 15), until very recently little research has focused on Turkish-German theatre’s possible contribution to such an ‘archive’. This can be seen most clearly with respect to the academic reception of the doyenne of Turkish-German literature, prize-winning author, actress, and director, Emine Sevgi Özdamar. Despite a focus in the secondary literature on performativity or theatrical elements in Özdamar’s prose work, the writer’s actual theatrical output, which includes six plays, has remained largely overlooked. As a result, these plays have taken on almost mythical status in Özdamar scholarship – while often referred to, they are barely researched. In this article, I use the documentary remains of the premiere of Özdamar’s first play, Karagöz in Alamania, (dir. Özdamar, 1986) to move beyond an understanding of the premiere based solely on the written record of the play. In doing so I intend to show how a return to the physical archival remains of a Turkish-German theatre sheds light on the institutional and aesthetic contexts in which productions take place and which help determine their perceived success or significance. In conclusion I suggest that much as Özdamar’s novels are often considered to preserve what Azade Seyhan calls ‘a form of countermemory to official history’ (149), the documentary remains of her 1986 production, may be said to preserve a form of counter-memory to the written records of the play. Given current discussions within the German theatrical scene on who theatre as a public institution should serve and how it should change to reflect the increasingly diverse face of modern Germany, the preservation of this ‘countermemory’, may become of increasing relevance.
2013-01-01T00:00:00ZStewart, LizzieTheatre history stands in a curious relation to the archive: created from physical, archival documents it then itself helps constitute or contest the ‘cultural archive’ which the ‘imagined community’ of a particular area, institution, state, or tradition, draws on. While Turkish-German literature has frequently been invoked in German studies and beyond as a ‘cultural archive’ which preserves ‘counter-narratives’ (Seyhan 3-4), or indexes a ‘transnational’ conception of the Federal Republic of Germany (Adelson 15), until very recently little research has focused on Turkish-German theatre’s possible contribution to such an ‘archive’. This can be seen most clearly with respect to the academic reception of the doyenne of Turkish-German literature, prize-winning author, actress, and director, Emine Sevgi Özdamar. Despite a focus in the secondary literature on performativity or theatrical elements in Özdamar’s prose work, the writer’s actual theatrical output, which includes six plays, has remained largely overlooked. As a result, these plays have taken on almost mythical status in Özdamar scholarship – while often referred to, they are barely researched. In this article, I use the documentary remains of the premiere of Özdamar’s first play, Karagöz in Alamania, (dir. Özdamar, 1986) to move beyond an understanding of the premiere based solely on the written record of the play. In doing so I intend to show how a return to the physical archival remains of a Turkish-German theatre sheds light on the institutional and aesthetic contexts in which productions take place and which help determine their perceived success or significance. In conclusion I suggest that much as Özdamar’s novels are often considered to preserve what Azade Seyhan calls ‘a form of countermemory to official history’ (149), the documentary remains of her 1986 production, may be said to preserve a form of counter-memory to the written records of the play. Given current discussions within the German theatrical scene on who theatre as a public institution should serve and how it should change to reflect the increasingly diverse face of modern Germany, the preservation of this ‘countermemory’, may become of increasing relevance.Man and society : the notion of responsibility in the novels of Alejo CarpentierMcGregor, Jennifer W.http://hdl.handle.net/10023/61142016-03-28T13:09:31Z1982-01-01T00:00:00ZThe aim of this thesis is to investigate the highly moral ethic of social duty and responsibility which animates the work of Alejo Carpentier. In order to examine this theme, I have studied, in particular, the following six novels: ‘El reino de este mundo’, Los pasos perdidos’, ‘El acoso’, El siglo de las luces’, ‘El recurso del método’, and ‘La consagración de la primavera’. In the Introduction, I have investigated the various philosophical questions raised by the concept of responsibility : the debate about freewill and determinism has been examined, and the Existentialist philosophy of Jean-Paul Sartre has been chosen as the most helpful in an investigation of Carpentier’s theory of responsibility, due to a great coincidence of thought between the two writers.
The protagonists of the novels in question have been grouped according to various distinguishing tendencies or characteristics, and have been analysed in the light of the Sartrian concepts of good and bad faith. These groupings are as follows: “the deluded intellectual”, “two tyrants”, “the lesson of experience”, and “the committed individual”. The success, or failure, of these characters, in matching up to the goals of self-transcendence and responsible commitment posed by Carpentier has been charted throughout Chapters One to Four, and deductions have been made about the various forms of bad faith in which the characters indulge.
The conclusions that I have drawn from this detailed investigation of characters in good and bad faith are, firstly, that Carpentier sees man’s goal in life as the attainment of self-knowledge and the honest acceptance of responsibility for the self : once this state of good faith has been achieved, man is able to commit himself to the never-ending struggle for the improvement of the social situation. Acceptance of responsibility for the self is vital, in Carpentier’s canon, for without such acceptance, positive commitment is impossible. Secondly, I have concluded that, according to Carpentier, commitment is an inevitable part of life, and that Carpentier’s goal, then, is that we should actively commit ourselves to a positive cause through recognition of our responsibility for ourselves and our society, rather than tacitly accept the status quo through a passive or deterministic attitude.
1982-01-01T00:00:00ZMcGregor, Jennifer W.The aim of this thesis is to investigate the highly moral ethic of social duty and responsibility which animates the work of Alejo Carpentier. In order to examine this theme, I have studied, in particular, the following six novels: ‘El reino de este mundo’, Los pasos perdidos’, ‘El acoso’, El siglo de las luces’, ‘El recurso del método’, and ‘La consagración de la primavera’. In the Introduction, I have investigated the various philosophical questions raised by the concept of responsibility : the debate about freewill and determinism has been examined, and the Existentialist philosophy of Jean-Paul Sartre has been chosen as the most helpful in an investigation of Carpentier’s theory of responsibility, due to a great coincidence of thought between the two writers.
The protagonists of the novels in question have been grouped according to various distinguishing tendencies or characteristics, and have been analysed in the light of the Sartrian concepts of good and bad faith. These groupings are as follows: “the deluded intellectual”, “two tyrants”, “the lesson of experience”, and “the committed individual”. The success, or failure, of these characters, in matching up to the goals of self-transcendence and responsible commitment posed by Carpentier has been charted throughout Chapters One to Four, and deductions have been made about the various forms of bad faith in which the characters indulge.
The conclusions that I have drawn from this detailed investigation of characters in good and bad faith are, firstly, that Carpentier sees man’s goal in life as the attainment of self-knowledge and the honest acceptance of responsibility for the self : once this state of good faith has been achieved, man is able to commit himself to the never-ending struggle for the improvement of the social situation. Acceptance of responsibility for the self is vital, in Carpentier’s canon, for without such acceptance, positive commitment is impossible. Secondly, I have concluded that, according to Carpentier, commitment is an inevitable part of life, and that Carpentier’s goal, then, is that we should actively commit ourselves to a positive cause through recognition of our responsibility for ourselves and our society, rather than tacitly accept the status quo through a passive or deterministic attitude.RAMÓN, Sociedad limitada. Consumo y creación en la estética de Ramón Gómez de la Serna.Fernandez Romero, Ricardohttp://hdl.handle.net/10023/60622018-01-12T14:30:05Z2014-07-01T00:00:00ZThis article will study the creative process of Ramón Gómez de la Serna taking into account the intertwining of the practices of consumption and production of the capitalist system and the literary practices and aesthetic conceptions of this author. Our analysis proposes how Gómez de la Serna understands the mechanisms at play in the marxists analysis of the fetishism of the commodity as aesthetic tools for the creation of literary images. As an extension of this approach and taking as a departing point the analysis of the two editions of El rastro (1914 and 1931), our exploration will cover the creative role of Gómez de la Serna’s own understanding of the nature of his books as commodities.
2014-07-01T00:00:00ZFernandez Romero, RicardoThis article will study the creative process of Ramón Gómez de la Serna taking into account the intertwining of the practices of consumption and production of the capitalist system and the literary practices and aesthetic conceptions of this author. Our analysis proposes how Gómez de la Serna understands the mechanisms at play in the marxists analysis of the fetishism of the commodity as aesthetic tools for the creation of literary images. As an extension of this approach and taking as a departing point the analysis of the two editions of El rastro (1914 and 1931), our exploration will cover the creative role of Gómez de la Serna’s own understanding of the nature of his books as commodities.Where are the vrais dévots and are they véritables gens de bien? Eloquent slippage in the Tartuffe controversyPrest, Julia Tamsinhttp://hdl.handle.net/10023/60362018-01-07T02:36:04Z2013-04-01T00:00:00ZThe famous controversy provoked by Molière’s Tartuffe (1664–1669) is usually read in terms of vrais and faux dévots and thought to turn on the question of sincerity versus hypocrisy. Here the vrai-faux dichotomy is challenged and a third term introduced in the form of the véritable homme de bien of Molière’s Preface to the published edition of the play. In the slippage between a vrai dévot and a véritable homme de bien (considered by most critics to be synonymous), I argue, lies a value-judgment and the suggestion of an alternative, more secular worldview that persisted even in the 1669 version of the play. The scandal of Tartuffe thus lies less with the threat of religious hypocrisy and more with the possibility that true morality could be found outside the Church.
2013-04-01T00:00:00ZPrest, Julia TamsinThe famous controversy provoked by Molière’s Tartuffe (1664–1669) is usually read in terms of vrais and faux dévots and thought to turn on the question of sincerity versus hypocrisy. Here the vrai-faux dichotomy is challenged and a third term introduced in the form of the véritable homme de bien of Molière’s Preface to the published edition of the play. In the slippage between a vrai dévot and a véritable homme de bien (considered by most critics to be synonymous), I argue, lies a value-judgment and the suggestion of an alternative, more secular worldview that persisted even in the 1669 version of the play. The scandal of Tartuffe thus lies less with the threat of religious hypocrisy and more with the possibility that true morality could be found outside the Church.The dynamics of literary translation : ‎a case study from English to PersianEmami, Mohammadhttp://hdl.handle.net/10023/59552016-08-09T09:17:19Z2014-12-01T00:00:00ZThis thesis aims to elucidate the translation process by devising a way of ‎retrieving evidence of this process from its output. It further aims to assess the ‎claims made by some scholars concerning the possible existence of Translation ‎Universals. In order to isolate the interaction of texts and contexts, a corpus of ‎American short stories was created, with their translations into Persian published ‎after the 1979 Revolution. Three complementary methodologies gave a rounded ‎picture: (1) Corpus-based Descriptive Translation Studies; (2) The pragmatic and ‎rhetorically-based approach of Thinking Translation devised at St Andrews; and ‎‎(3) The analytical framework mostly established by Halliday in his ‎Systemic ‎Functional Grammar.‎ Approaching the process of translation in the ‎specific order devised in this thesis provided four vantage points to analyse the ‎data in a systematic way from linguistic, discourse, cultural and literary views ‎before reaching what are at once the most personal and most characteristic ‎aspects of a translator’s work. The research begins with a literature review of the ‎field and an account of linguistic constraints and of all Translation Universals ‎hypothesised so far, followed by an extensive analysis of data in two consecutive ‎chapters. With reference to the choices made in this corpus, it is discussed in the ‎Conclusions chapter that most of the Translation Universals so far claimed are ‎not in fact universal. It is the role of the translator which has emerged as the ‎determining factor in producing a translated text, and thus as the key to ‎resolving the issues explored in this thesis. It seems there are no constraints ‎beyond the translator’s reach, and there are no parameters which do not involve ‎the translator, who introduces his or her own choices, or manipulates certain ‎parameters. Only when they have done so, will the translation, as both process ‎and product, be accomplished.‎
2014-12-01T00:00:00ZEmami, MohammadThis thesis aims to elucidate the translation process by devising a way of ‎retrieving evidence of this process from its output. It further aims to assess the ‎claims made by some scholars concerning the possible existence of Translation ‎Universals. In order to isolate the interaction of texts and contexts, a corpus of ‎American short stories was created, with their translations into Persian published ‎after the 1979 Revolution. Three complementary methodologies gave a rounded ‎picture: (1) Corpus-based Descriptive Translation Studies; (2) The pragmatic and ‎rhetorically-based approach of Thinking Translation devised at St Andrews; and ‎‎(3) The analytical framework mostly established by Halliday in his ‎Systemic ‎Functional Grammar.‎ Approaching the process of translation in the ‎specific order devised in this thesis provided four vantage points to analyse the ‎data in a systematic way from linguistic, discourse, cultural and literary views ‎before reaching what are at once the most personal and most characteristic ‎aspects of a translator’s work. The research begins with a literature review of the ‎field and an account of linguistic constraints and of all Translation Universals ‎hypothesised so far, followed by an extensive analysis of data in two consecutive ‎chapters. With reference to the choices made in this corpus, it is discussed in the ‎Conclusions chapter that most of the Translation Universals so far claimed are ‎not in fact universal. It is the role of the translator which has emerged as the ‎determining factor in producing a translated text, and thus as the key to ‎resolving the issues explored in this thesis. It seems there are no constraints ‎beyond the translator’s reach, and there are no parameters which do not involve ‎the translator, who introduces his or her own choices, or manipulates certain ‎parameters. Only when they have done so, will the translation, as both process ‎and product, be accomplished.‎A social-psychological study of foreign learners' attitudes and behaviours towards model varieties of English speechCarrie, Erinhttp://hdl.handle.net/10023/56672016-03-28T12:48:03Z2014-12-01T00:00:00ZThis thesis attempts to bridge the gap between Social Psychology and Sociolinguistics by exploring the relationship between language attitudes and language use. Using a sample of 71 university students in Spain, it investigates how learners deal with phonological variation in the English language, what language attitudes are held towards American and British models of English speech and which social and psychological factors are linked with learners’ language attitudes and language use.
A social-psychological model was adopted and adapted, allowing learners’ use of intervocalic /t/ to be successfully predicted from measures of attitude, subjective norm and perceived behavioural control. Direct measures of learners’ preferred accent and pronunciation class were also highly predictive of learners’ language use.
Several trends were found in the attitudinal data. Firstly, British English speech was rated more favourably overall, though American English speech was often viewed as more socially attractive. Secondly, the evaluative dimensions of competence and social attractiveness were salient amongst learners in the Spanish context. Each of these findings endorses those of previous language attitude studies conducted elsewhere. Thirdly, female speakers were consistently rated more favourably than male speakers; thus, highlighting the need for further investigation into the variable of speaker sex.
Familiarity with the speech varieties under investigation – most often gained through education, media exposure, time spent abroad and/or contact with native speakers – seemed to result in learners challenging rigid stereotypes and expressing more individualised attitudes. Overall, British speech emerged as formal and functional, while American speech was thought to fulfil more informal and interpersonal functions.
This thesis provides compelling evidence of attitude-behaviour relations, adds to the growing volume of language attitude research being conducted across the globe, and establishes – for the first time – which social and psychological variables are relevant and salient within English-language learning contexts in Spain.
2014-12-01T00:00:00ZCarrie, ErinThis thesis attempts to bridge the gap between Social Psychology and Sociolinguistics by exploring the relationship between language attitudes and language use. Using a sample of 71 university students in Spain, it investigates how learners deal with phonological variation in the English language, what language attitudes are held towards American and British models of English speech and which social and psychological factors are linked with learners’ language attitudes and language use.
A social-psychological model was adopted and adapted, allowing learners’ use of intervocalic /t/ to be successfully predicted from measures of attitude, subjective norm and perceived behavioural control. Direct measures of learners’ preferred accent and pronunciation class were also highly predictive of learners’ language use.
Several trends were found in the attitudinal data. Firstly, British English speech was rated more favourably overall, though American English speech was often viewed as more socially attractive. Secondly, the evaluative dimensions of competence and social attractiveness were salient amongst learners in the Spanish context. Each of these findings endorses those of previous language attitude studies conducted elsewhere. Thirdly, female speakers were consistently rated more favourably than male speakers; thus, highlighting the need for further investigation into the variable of speaker sex.
Familiarity with the speech varieties under investigation – most often gained through education, media exposure, time spent abroad and/or contact with native speakers – seemed to result in learners challenging rigid stereotypes and expressing more individualised attitudes. Overall, British speech emerged as formal and functional, while American speech was thought to fulfil more informal and interpersonal functions.
This thesis provides compelling evidence of attitude-behaviour relations, adds to the growing volume of language attitude research being conducted across the globe, and establishes – for the first time – which social and psychological variables are relevant and salient within English-language learning contexts in Spain.La pensée littéraire et la preuve, ou l'épreuve, du partageLaugt, Elodie Roselinehttp://hdl.handle.net/10023/55572017-12-31T00:32:17Z2014-01-01T00:00:00Z2014-01-01T00:00:00ZLaugt, Elodie RoselineThe sight and sound of Albanian migration in contemporary Italian cinemaDuncan, Derek Egertonhttp://hdl.handle.net/10023/50972017-12-31T00:32:21Z2007-01-01T00:00:00ZWith particular reference of Gianni Amelio’s Lamerica (1994) and Ennio De Dominicis’s L’Italiano (2001), this article looks at a number of recent Italian films that ostensibly deal with migration from Albania to Italy in the 1990s. I argue that these films use migration as a means of exploring the nation’s past history of colonial expansion and emigration rather than documenting a current socio-cultural phenomenon. The article begins by analyzing these films in terms of the constitutive role afforded to cinema in the construction of Italian national identity. It then goes on to examine how Italy’s historical relationship with Albania is recalled in ambivalent terms. This ambivalence is projected onto the bodies of the Albanian migrant whose alterity these films construct through an insistence on an essential cultural and physiological difference. The article explores the various strategies that these films employ to remind the spectator of the irreconcilable difference between Italians and Albanians. The avowed humanitarian intentions of these films are compromised by their insistence on the impermeablity of Italian identity.
2007-01-01T00:00:00ZDuncan, Derek EgertonWith particular reference of Gianni Amelio’s Lamerica (1994) and Ennio De Dominicis’s L’Italiano (2001), this article looks at a number of recent Italian films that ostensibly deal with migration from Albania to Italy in the 1990s. I argue that these films use migration as a means of exploring the nation’s past history of colonial expansion and emigration rather than documenting a current socio-cultural phenomenon. The article begins by analyzing these films in terms of the constitutive role afforded to cinema in the construction of Italian national identity. It then goes on to examine how Italy’s historical relationship with Albania is recalled in ambivalent terms. This ambivalence is projected onto the bodies of the Albanian migrant whose alterity these films construct through an insistence on an essential cultural and physiological difference. The article explores the various strategies that these films employ to remind the spectator of the irreconcilable difference between Italians and Albanians. The avowed humanitarian intentions of these films are compromised by their insistence on the impermeablity of Italian identity.A corpus linguistic analysis of phraseology and collocation in the register of current European Union administrative FrenchAnderson, Wendy J.http://hdl.handle.net/10023/49092016-03-28T12:07:28Z2003-01-01T00:00:00ZThe French administrative language of the European Union is an emerging discourse: it
is less than fifty years old, and has its origins in the French administrative register of the
middle of the twentieth century. This thesis has two main objectives. The first is
descriptive: using the flourishing methodology of corpus linguistics, and a specially
compiled two-million word corpus of texts, it aims to describe the current discourse of
EU French in terms of its phraseology and collocational patterning, in particular in
relation to its French national counterpart. The description confirms the phraseological
specificity of EU language but shows that not all of this can be ascribed to semantic or
pragmatic factors. The second objective of this thesis is therefore explanatory: given the
phraseological differences evident between the two discourses, and by means of a
diachronic comparison, it asks how the EU discourse has developed in relation to the
national discourse.
A detailed analysis is provided of differences between the administrative language as a
whole and other registers of French, and indeed of genre-based variation within the
administrative register. Three main types of phraseological patterning are investigated:
phraseology which is the creation of administrators themselves; phraseological elements
which are part of the general language heritage adopted by the administrative register;
and collocational patterning which, as a statistical notion, is the creation of the corpus.
The thesis then seeks to identify the most significant influences on the discourse. The
data indicates that, contrary to expectations, English, nowadays the most
commonly-used official language of the EU institutions, has had relatively little
influence. More importantly, the translation process itself has acted as a conservative
influence on the EU discourse. This corresponds with linguistic findings about the
nature of translated text.
2003-01-01T00:00:00ZAnderson, Wendy J.The French administrative language of the European Union is an emerging discourse: it
is less than fifty years old, and has its origins in the French administrative register of the
middle of the twentieth century. This thesis has two main objectives. The first is
descriptive: using the flourishing methodology of corpus linguistics, and a specially
compiled two-million word corpus of texts, it aims to describe the current discourse of
EU French in terms of its phraseology and collocational patterning, in particular in
relation to its French national counterpart. The description confirms the phraseological
specificity of EU language but shows that not all of this can be ascribed to semantic or
pragmatic factors. The second objective of this thesis is therefore explanatory: given the
phraseological differences evident between the two discourses, and by means of a
diachronic comparison, it asks how the EU discourse has developed in relation to the
national discourse.
A detailed analysis is provided of differences between the administrative language as a
whole and other registers of French, and indeed of genre-based variation within the
administrative register. Three main types of phraseological patterning are investigated:
phraseology which is the creation of administrators themselves; phraseological elements
which are part of the general language heritage adopted by the administrative register;
and collocational patterning which, as a statistical notion, is the creation of the corpus.
The thesis then seeks to identify the most significant influences on the discourse. The
data indicates that, contrary to expectations, English, nowadays the most
commonly-used official language of the EU institutions, has had relatively little
influence. More importantly, the translation process itself has acted as a conservative
influence on the EU discourse. This corresponds with linguistic findings about the
nature of translated text.Transliteration of Arabic : a new suggestionKiltz, Davidhttp://hdl.handle.net/10023/48252017-12-31T00:42:58Z2014-05-14T00:00:00ZBased on the transliteration of the DMG (Deutsche Morgenländische Gesellschaft) we propose some changes to its transliteration so as to linguistically reflect more accurately the Arabic original, make the transliteration more congruent and more apt for electronic data processing.
2014-05-14T00:00:00ZKiltz, DavidBased on the transliteration of the DMG (Deutsche Morgenländische Gesellschaft) we propose some changes to its transliteration so as to linguistically reflect more accurately the Arabic original, make the transliteration more congruent and more apt for electronic data processing.The political and military career of General Anastasio Bustamente (1780-1853)Andrews, Catherinehttp://hdl.handle.net/10023/45932016-03-28T11:15:09Z2001-05-01T00:00:00ZAnastasio Bustamante was born in the modern day state of Michoacan in
1780. He served the Royalist Army during the insurgency (1810-1821). He was one
of the first officers to adhere to Agustin de Iturbide's Plan of Iguala in 1821, and a
signatory of the Act of Independence (28 September 1821). He was a member of
Mexico's first independent government, the Junta Provisional Gubernativa (1821-
1822) and served as the Captain General of the Eastern and Western Internal
Provinces during Iturbide's short-lived reign as Emperor (1822-1823). He served as
the Commander General of the Eastern Interior Provinces between 1826 and 1829. In
1829 he became Vice-President of the Republic. In December 1829 he led a
successful rebellion against the incumbent President, Vicente Guerrero. He served as
acting Head of the Executive between 1830 and 1832. In 1837 he was elected
President. He occupied this position until 1841. He commanded the troops of the
Western Division during the war with the United States (1846-1848). Between 1848
and 1849, he oversaw the pacification of one of the many rebellions of the Sierra
Gorda (now the Sierra de Queretaro). He died in Guanajuato in 1853, aged 73.
This study examines Bustamante's military and political career. It rejects the
traditional interpretation of the General, which portrays him as a weak and indecisive
man lacking in any real political principles. Instead, it argues that Bustamante was a
resolute and pragmatic leader, who supported the cause of moderate federalism for
most of his career.
2001-05-01T00:00:00ZAndrews, CatherineAnastasio Bustamante was born in the modern day state of Michoacan in
1780. He served the Royalist Army during the insurgency (1810-1821). He was one
of the first officers to adhere to Agustin de Iturbide's Plan of Iguala in 1821, and a
signatory of the Act of Independence (28 September 1821). He was a member of
Mexico's first independent government, the Junta Provisional Gubernativa (1821-
1822) and served as the Captain General of the Eastern and Western Internal
Provinces during Iturbide's short-lived reign as Emperor (1822-1823). He served as
the Commander General of the Eastern Interior Provinces between 1826 and 1829. In
1829 he became Vice-President of the Republic. In December 1829 he led a
successful rebellion against the incumbent President, Vicente Guerrero. He served as
acting Head of the Executive between 1830 and 1832. In 1837 he was elected
President. He occupied this position until 1841. He commanded the troops of the
Western Division during the war with the United States (1846-1848). Between 1848
and 1849, he oversaw the pacification of one of the many rebellions of the Sierra
Gorda (now the Sierra de Queretaro). He died in Guanajuato in 1853, aged 73.
This study examines Bustamante's military and political career. It rejects the
traditional interpretation of the General, which portrays him as a weak and indecisive
man lacking in any real political principles. Instead, it argues that Bustamante was a
resolute and pragmatic leader, who supported the cause of moderate federalism for
most of his career.Schatten über den Anfängen ? : Wie viel sagen frühislamische Quellen über das aus, was wirklich war?Kiltz, Davidhttp://hdl.handle.net/10023/44292017-12-31T00:38:54Z2010-01-01T00:00:00ZThis chapter gives a brief survey of the sources available to the historian of the beginnings of Islam, as well as a critical overview over the most current approaches to these sources.
2010-01-01T00:00:00ZKiltz, DavidThis chapter gives a brief survey of the sources available to the historian of the beginnings of Islam, as well as a critical overview over the most current approaches to these sources.The relationship between Arabic Allāh and Syriac AllāhāKiltz, Davidhttp://hdl.handle.net/10023/44282018-01-07T02:42:36Z2012-10-01T00:00:00ZVarious etymologies have been proposed for Arabic allāh but also for Syriac allāhā. It has often been proposed that the Arabic word was borrowed from Syriac. This article takes a comprehensive look at the linguistic evidence at hand. Especially, it takes into consideration more recent epigraphical material which sheds light on the development of the Arabic language. Phonetic and morphological analysis of the data confirms the Arabic origin of the word allāh, whereas the problems of the Syriac form allāhā are described, namely that the Syriac form differs from that of other Aramaic dialects and begs explanation, discussing also the possibility that the Syriac word is a loan from Arabic. The final part considers qur'anic allāh in its cultural and literary context and the role of the Syriac word in that context. The article concludes, that both, a strictly linguistic, as well as cultural and literary analysis reveals a multi-layered interrelation between the two terms in question. The linguistic analysis shows, that Arabic allāh must be a genuinely Arabic word, whereas in the case of Syriac allāhā, the possibility of both, a loan and a specific inner-Aramaic development are laid out. Apart from linguistic considerations, the historical and cultural situation in Northern Mesopotamia, i.e. the early Arab presence in that region is taken into scrutiny. In turn, a possible later effect of the prominent use of Syriac allaha on the use in the Qur'an is considered. It is emphasized, that we are presented with a situation of prolonged contact and exchange, rather than merely one-way borrowings.
2012-10-01T00:00:00ZKiltz, DavidVarious etymologies have been proposed for Arabic allāh but also for Syriac allāhā. It has often been proposed that the Arabic word was borrowed from Syriac. This article takes a comprehensive look at the linguistic evidence at hand. Especially, it takes into consideration more recent epigraphical material which sheds light on the development of the Arabic language. Phonetic and morphological analysis of the data confirms the Arabic origin of the word allāh, whereas the problems of the Syriac form allāhā are described, namely that the Syriac form differs from that of other Aramaic dialects and begs explanation, discussing also the possibility that the Syriac word is a loan from Arabic. The final part considers qur'anic allāh in its cultural and literary context and the role of the Syriac word in that context. The article concludes, that both, a strictly linguistic, as well as cultural and literary analysis reveals a multi-layered interrelation between the two terms in question. The linguistic analysis shows, that Arabic allāh must be a genuinely Arabic word, whereas in the case of Syriac allāhā, the possibility of both, a loan and a specific inner-Aramaic development are laid out. Apart from linguistic considerations, the historical and cultural situation in Northern Mesopotamia, i.e. the early Arab presence in that region is taken into scrutiny. In turn, a possible later effect of the prominent use of Syriac allaha on the use in the Qur'an is considered. It is emphasized, that we are presented with a situation of prolonged contact and exchange, rather than merely one-way borrowings.An Early Christian Arabic Account of the Creation of the WorldDmitriev, Kirillhttp://hdl.handle.net/10023/44262018-01-07T03:11:15Z2009-01-01T00:00:00Z2009-01-01T00:00:00ZDmitriev, KirillEffect of detuning on the phonon induced dephasing of optically driven InGaAs/GaAs quantum dotsRamsay, A. J.Godden, T. M.Boyle, S. J.Gauger, E. M.Nazir, A.Lovett, B. W.Gopal, Achanta VenuFox, A. M.Skolnick, M. S.http://hdl.handle.net/10023/43482018-01-07T02:41:43Z2011-05-01T00:00:00ZRecently, longitudinal acoustic phonons have been identified as the main source of the intensity damping observed in Rabi rotation measurements of the ground-state exciton of a single InAs/GaAs quantum dot. Here we report experiments of intensity damped Rabi rotations in the case of detuned laser pulses. The results have implications for the coherent optical control of both excitons and spins using detuned laser pulses.
2011-05-01T00:00:00ZRamsay, A. J.Godden, T. M.Boyle, S. J.Gauger, E. M.Nazir, A.Lovett, B. W.Gopal, Achanta VenuFox, A. M.Skolnick, M. S.Recently, longitudinal acoustic phonons have been identified as the main source of the intensity damping observed in Rabi rotation measurements of the ground-state exciton of a single InAs/GaAs quantum dot. Here we report experiments of intensity damped Rabi rotations in the case of detuned laser pulses. The results have implications for the coherent optical control of both excitons and spins using detuned laser pulses.Shkliarevskii and Russian Detective Fiction : The Influence of DostoevskiiWhitehead, Claire Eugeniehttp://hdl.handle.net/10023/43132017-12-31T00:38:06Z2013-01-01T00:00:00ZThis article examines the writing of A.A. Shkliarevskii, an important figure in early Russian detective fiction, in the light of the influence of F.M. Dostoevskii.
2013-01-01T00:00:00ZWhitehead, Claire EugenieThis article examines the writing of A.A. Shkliarevskii, an important figure in early Russian detective fiction, in the light of the influence of F.M. Dostoevskii."¿Porque este libro es más antiguo?” : The Early History of the Diálogo de la lengua RevisitedAnipa, Kormihttp://hdl.handle.net/10023/40772018-01-07T02:32:08Z2011-01-01T00:00:00ZJuan de Valdés was one of the most interesting figures of 16 th-century Spain. Apart from his theological works, his Diálogo de la lengua typified the humanistic fervour of his day. On the preliminary folio of its earliest known manuscript appears this annotation: 'No Parece toca el expurgro Nouisso del año de [⋯] aeste quaderno. Fray Pedro de Carvajal, Predicador general'. The brackets represent a date, which looks very much like 1540, but has been traditionally transcribed as 1640. Neither this date nor the identity of the annotator has ever been investigated before. Next to Carvajal's annotation appears a puzzling, later one, used as the main heading for this article, which also has not been understood or seriously considered before. The aim of this article is to problematize these issues and investigate the identity of the first annotator, his motivation for the annotation, when he carried it out, the suspicious date he alluded to, and the meaning of the second annotation. It is hoped that this research will not only expand the current state of our still limited knowledge about the early history of the Diálogo - recently characterized by one scholar as bordering on complete ignorance - but also open up some fresh avenues for further work on this unique Renaissance work.
Funded with a grant by Carnegie Trust for the Universities of Scotland
2011-01-01T00:00:00ZAnipa, KormiJuan de Valdés was one of the most interesting figures of 16 th-century Spain. Apart from his theological works, his Diálogo de la lengua typified the humanistic fervour of his day. On the preliminary folio of its earliest known manuscript appears this annotation: 'No Parece toca el expurgro Nouisso del año de [⋯] aeste quaderno. Fray Pedro de Carvajal, Predicador general'. The brackets represent a date, which looks very much like 1540, but has been traditionally transcribed as 1640. Neither this date nor the identity of the annotator has ever been investigated before. Next to Carvajal's annotation appears a puzzling, later one, used as the main heading for this article, which also has not been understood or seriously considered before. The aim of this article is to problematize these issues and investigate the identity of the first annotator, his motivation for the annotation, when he carried it out, the suspicious date he alluded to, and the meaning of the second annotation. It is hoped that this research will not only expand the current state of our still limited knowledge about the early history of the Diálogo - recently characterized by one scholar as bordering on complete ignorance - but also open up some fresh avenues for further work on this unique Renaissance work.'En dehors de la fête' : entre présence et absence, pour une approche dialogique de l'identité dans Les Années d'Annie ErnauxHugueny-Leger, Elise Simone Mariehttp://hdl.handle.net/10023/38282018-01-07T02:30:57Z2012-07-01T00:00:00ZLe postulat de cet article est que la conception de l’identité telle qu’elle est développée dans Les Années d’Annie Ernaux (2008) fonctionne sur un mouvement paradoxal de présence et absence du sujet (auteure, narratrice et personnage) ernalien. Ce mouvement, qui se réfère à une manière d’aborder à la fois le quotidien et l’écriture, et qui a été décrit par Ernaux comme la sensation d’être ‘hors de la fête’, peut se comprendre comme partie intégrante de son œuvre. Il trouve sa représentation la plus probante dans le motif même de la fête, occasion de faire mettre en jeu des interactions entre soi et autrui ainsi que des structures à la fois privées et institutionnalisées. En prenant ce motif comme point de départ, cet article propose une lecture d’Ernaux à travers les théories de Bakhtine sur le carnaval, la polyphonie et l’identité qui permettent de mettre en valeur le passage de la présence à l’absence, de soi aux autres, et le rôle de la parole d’autrui dans la constitution des Années. Il s’agit de comprendre comment ce texte peut être décrit comme un véritable ‘roman total’ dans le sens où il fait place à l’intertextualité, au dialogisme, où il met en lumière diverses structures sociales et laisse entrevoir une identité personnelle et narrative basée sur la question de l’altérité.
2012-07-01T00:00:00ZHugueny-Leger, Elise Simone MarieLe postulat de cet article est que la conception de l’identité telle qu’elle est développée dans Les Années d’Annie Ernaux (2008) fonctionne sur un mouvement paradoxal de présence et absence du sujet (auteure, narratrice et personnage) ernalien. Ce mouvement, qui se réfère à une manière d’aborder à la fois le quotidien et l’écriture, et qui a été décrit par Ernaux comme la sensation d’être ‘hors de la fête’, peut se comprendre comme partie intégrante de son œuvre. Il trouve sa représentation la plus probante dans le motif même de la fête, occasion de faire mettre en jeu des interactions entre soi et autrui ainsi que des structures à la fois privées et institutionnalisées. En prenant ce motif comme point de départ, cet article propose une lecture d’Ernaux à travers les théories de Bakhtine sur le carnaval, la polyphonie et l’identité qui permettent de mettre en valeur le passage de la présence à l’absence, de soi aux autres, et le rôle de la parole d’autrui dans la constitution des Années. Il s’agit de comprendre comment ce texte peut être décrit comme un véritable ‘roman total’ dans le sens où il fait place à l’intertextualité, au dialogisme, où il met en lumière diverses structures sociales et laisse entrevoir une identité personnelle et narrative basée sur la question de l’altérité.The 'internal exotic' : a postcolonial re-reading of nineteenth-century Alsatian and Corsican literature in FrenchLorber, Julia Elfriedehttp://hdl.handle.net/10023/37442016-03-28T11:29:10Z2013-01-01T00:00:00ZThis thesis examines nineteenth-century French literature about the peripheral regions of Alsace and Corsica, observing the discursive process of their incorporation into the imagined French landscape.
Firstly, approaching literature from a postcolonial angle, this thesis shows how Alsace and Corsica were represented as exotic by contemporary canonical writers. ‘Internal exoticism’ helped conceptualise these regions as different from the French self, while justifying their rule by France. It also investigates how nineteenth-century Parisian authors envisaged Alsace’s and Corsica’s transition from ‘otherness’ to ‘Frenchness.’
Secondly, this research reveals long-forgotten regional authors, who endeavoured to write about their provinces in French for the first time. It analyses the influence of Parisian literary figures
on these authors, showing whether they were imitating or responding to canonical representations.
This process reveals regional writers’ tendencies to ‘auto-exoticise’, seeing their provinces through the eyes of the centre.
Finally, this analysis shows how French nation-building was interlinked with France’s larger imperial project, suggesting that peripheral provinces were often perceived through the same conceptual framework as overseas colonies.
This thesis contributes to the field of French studies by unearthing unknown authors, and by applying a new theoretical framework, drawing on literary, political and socio-cultural approaches, to the study of France.
2013-01-01T00:00:00ZLorber, Julia ElfriedeThis thesis examines nineteenth-century French literature about the peripheral regions of Alsace and Corsica, observing the discursive process of their incorporation into the imagined French landscape.
Firstly, approaching literature from a postcolonial angle, this thesis shows how Alsace and Corsica were represented as exotic by contemporary canonical writers. ‘Internal exoticism’ helped conceptualise these regions as different from the French self, while justifying their rule by France. It also investigates how nineteenth-century Parisian authors envisaged Alsace’s and Corsica’s transition from ‘otherness’ to ‘Frenchness.’
Secondly, this research reveals long-forgotten regional authors, who endeavoured to write about their provinces in French for the first time. It analyses the influence of Parisian literary figures
on these authors, showing whether they were imitating or responding to canonical representations.
This process reveals regional writers’ tendencies to ‘auto-exoticise’, seeing their provinces through the eyes of the centre.
Finally, this analysis shows how French nation-building was interlinked with France’s larger imperial project, suggesting that peripheral provinces were often perceived through the same conceptual framework as overseas colonies.
This thesis contributes to the field of French studies by unearthing unknown authors, and by applying a new theoretical framework, drawing on literary, political and socio-cultural approaches, to the study of France.Innovation in the novels of Muḥammad Barrāda, Idwār al-Kharrāṭ, Ilyās Khūrī and Fu'ād al-Takarlī, (1979-1999)Caiani, Fabiohttp://hdl.handle.net/10023/37072016-03-28T11:25:46Z2005-01-01T00:00:00ZThis thesis is a detailed literary analysis of the innovative elements in the novels of four of the most significant contemporary Arab authors: the Moroccan Muhammad Barrāda, the Egyptian Idwār al-Kharrāṭ, the Lebanese Ilyās Khūrī and the Iraqi Fu'ād al-Takarlī.
These novels were published between 1979 and 1999, a period during which the work of these authors reached literary maturity. While this thesis (unlike many critical studies of Arabic fiction written in English) is based on close textual analysis of the texts in question, it
places its findings within a wider framework: its introduction (the first part of an essay on literary innovation) defines what is meant by innovation in the Arabic novel; its conclusion (the second part of that essay), is an attempt to connect the innovative methods adopted by the above mentioned writers with the wider literary scene: it shows how these writers have contributed to promoting some of the main innovative trends of the Arabic novel in the last few decades. In adopting a literary approach to these novels, we have considered how the writers' formal choices and techniques have shaped the content of their texts. In this way, we have not only highlighted the importance which the novelists' socio-political discourse assumes in Arab societies, but have also underlined how this discourse is more or less successful because of its artistic merits. The first chapter of this thesis deals with the highly fragmented nature of these texts (lack of ordered development or plot); the second chapter tackles the problems inherent in narrative voice and the position of the authors within their texts; the third chapter explores the intertextual connections these writers use to shape a certain discourse; the fourth chapter deals with the way these novelists promote a self-referential kind of fiction.
2005-01-01T00:00:00ZCaiani, FabioThis thesis is a detailed literary analysis of the innovative elements in the novels of four of the most significant contemporary Arab authors: the Moroccan Muhammad Barrāda, the Egyptian Idwār al-Kharrāṭ, the Lebanese Ilyās Khūrī and the Iraqi Fu'ād al-Takarlī.
These novels were published between 1979 and 1999, a period during which the work of these authors reached literary maturity. While this thesis (unlike many critical studies of Arabic fiction written in English) is based on close textual analysis of the texts in question, it
places its findings within a wider framework: its introduction (the first part of an essay on literary innovation) defines what is meant by innovation in the Arabic novel; its conclusion (the second part of that essay), is an attempt to connect the innovative methods adopted by the above mentioned writers with the wider literary scene: it shows how these writers have contributed to promoting some of the main innovative trends of the Arabic novel in the last few decades. In adopting a literary approach to these novels, we have considered how the writers' formal choices and techniques have shaped the content of their texts. In this way, we have not only highlighted the importance which the novelists' socio-political discourse assumes in Arab societies, but have also underlined how this discourse is more or less successful because of its artistic merits. The first chapter of this thesis deals with the highly fragmented nature of these texts (lack of ordered development or plot); the second chapter tackles the problems inherent in narrative voice and the position of the authors within their texts; the third chapter explores the intertextual connections these writers use to shape a certain discourse; the fourth chapter deals with the way these novelists promote a self-referential kind of fiction.'Verde di migrazione' : L'estetica perturbante dell'enstrangement ne La mano che non mordi di Ornela VorpsiBond, Emma Franceshttp://hdl.handle.net/10023/36852017-12-31T00:32:36Z2010-01-01T00:00:00ZQuesto articolo analizza la rappresentazione degli effetti dell’alienazione provocati dalla migrazione ne La mano che non mordi di Ornela Vorpsi tramite il legame che essa crea tra frammentazione dell’io e l’incontro con l’estetica. L’arte, nella stessa maniera della soggettività dissociata dalla migrazione, crea un mondo fittizio, e promuove la rimozione della realtà personale – qualcosa che puo’ rivelarsi distruttivo della stabilità psicologica dell’individuo. Nella presente novella, un tale incontro con un’estetica perturbante (eco dell’episodio parallelo nel Ritratto di Dorian Gray di Oscar Wilde) si allinea con l’esperienza del ritorno dei migranti al loro paese d’origine, e crea una schiera di personaggi segnati persino fisicamente dalla perdita della stabilità precedente della loro identità.
Special issue: Les mouvements migratoires entre réalité et représentation
2010-01-01T00:00:00ZBond, Emma FrancesQuesto articolo analizza la rappresentazione degli effetti dell’alienazione provocati dalla migrazione ne La mano che non mordi di Ornela Vorpsi tramite il legame che essa crea tra frammentazione dell’io e l’incontro con l’estetica. L’arte, nella stessa maniera della soggettività dissociata dalla migrazione, crea un mondo fittizio, e promuove la rimozione della realtà personale – qualcosa che puo’ rivelarsi distruttivo della stabilità psicologica dell’individuo. Nella presente novella, un tale incontro con un’estetica perturbante (eco dell’episodio parallelo nel Ritratto di Dorian Gray di Oscar Wilde) si allinea con l’esperienza del ritorno dei migranti al loro paese d’origine, e crea una schiera di personaggi segnati persino fisicamente dalla perdita della stabilità precedente della loro identità.The political career and ideology of Mariano Otero, Mexican politician (1817-1850)Boyd, Melissahttp://hdl.handle.net/10023/36372017-06-08T23:16:40Z2012-01-01T00:00:00ZThe traditionalist historiography of nineteenth-century Mexico produced a simplistic binary view of the period in which politics were characterised by a clear-cut liberal/conservative divide. According to this interpretation, the liberals were repeatedly depicted as the patriotic forefathers of the great reformist liberals of the mid-century Reforma period, whilst the conservatives were presented as the treacherous defenders of the dark forces of reaction. A revaluation of the fragmented politics of Mexican liberalism during the critical decade of the 1840s, focussing in particular on the actions and ideas of moderate political thinker and actor, Mariano Otero, provides a much needed nuanced understanding of the political issues, factions, and tendencies of the
time. It highlights for one, the nature of the divisions that prevented Mexican liberals
from presenting a united front, even during the traumatic Mexican-American War
(1846-48). It also forces us to revise the view that there were only two political factions or worldviews during this period.
This thesis examines, therefore, Mexican moderate liberalism in the 1840s
through the figure of Mariano Otero (Mexico, 1817-1850), never quite fully researched
in the historiography. A moderate liberal ideologue, politician, lawyer and essayist, he was politically active during the turbulent decade from 1841 until his death in 1850. He served as congressional deputy in 1842 and 1846, senator from 1847-1849, and
government minister in 1848. Author of the seminal Ensayo sobre el verdadero estado
de la cuestión social y política que se agita en la República Mexicana (1842), and
architect of the 1846 Acta de Reformas that reformed the 1824 constitution, he is lauded
as the father of the Juicio de Amparo a legal recourse which provided the individual
with a means of protection from the abuses of the state.
This thesis thus approaches the subject by offering an in-depth biographical
study of Otero and an analysis of the political ideology that informed his writings and actions. By contrasting Otero’s political ideas with those others that were in vogue and showing how these were, in turn, put into effect, bearing in mind a backcloth of political and military alliances that was constantly changing, the aim of this study is to allow the reader to understand the nature of Otero’s political standpoint as well as that of Mexico’s mid-century moderados in context. The Otero that emerges from this revision is a man of firm convictions, a committed constitutionalist, unwavering in his belief in federalism as the answer to Mexico’s ills but forced to compromise to achieve his aims. This was a man who in attempting to shape the time was himself shaped by it.
Certainly no such cut and dried portrait as that previously portrayed emerges.
2012-01-01T00:00:00ZBoyd, MelissaThe traditionalist historiography of nineteenth-century Mexico produced a simplistic binary view of the period in which politics were characterised by a clear-cut liberal/conservative divide. According to this interpretation, the liberals were repeatedly depicted as the patriotic forefathers of the great reformist liberals of the mid-century Reforma period, whilst the conservatives were presented as the treacherous defenders of the dark forces of reaction. A revaluation of the fragmented politics of Mexican liberalism during the critical decade of the 1840s, focussing in particular on the actions and ideas of moderate political thinker and actor, Mariano Otero, provides a much needed nuanced understanding of the political issues, factions, and tendencies of the
time. It highlights for one, the nature of the divisions that prevented Mexican liberals
from presenting a united front, even during the traumatic Mexican-American War
(1846-48). It also forces us to revise the view that there were only two political factions or worldviews during this period.
This thesis examines, therefore, Mexican moderate liberalism in the 1840s
through the figure of Mariano Otero (Mexico, 1817-1850), never quite fully researched
in the historiography. A moderate liberal ideologue, politician, lawyer and essayist, he was politically active during the turbulent decade from 1841 until his death in 1850. He served as congressional deputy in 1842 and 1846, senator from 1847-1849, and
government minister in 1848. Author of the seminal Ensayo sobre el verdadero estado
de la cuestión social y política que se agita en la República Mexicana (1842), and
architect of the 1846 Acta de Reformas that reformed the 1824 constitution, he is lauded
as the father of the Juicio de Amparo a legal recourse which provided the individual
with a means of protection from the abuses of the state.
This thesis thus approaches the subject by offering an in-depth biographical
study of Otero and an analysis of the political ideology that informed his writings and actions. By contrasting Otero’s political ideas with those others that were in vogue and showing how these were, in turn, put into effect, bearing in mind a backcloth of political and military alliances that was constantly changing, the aim of this study is to allow the reader to understand the nature of Otero’s political standpoint as well as that of Mexico’s mid-century moderados in context. The Otero that emerges from this revision is a man of firm convictions, a committed constitutionalist, unwavering in his belief in federalism as the answer to Mexico’s ills but forced to compromise to achieve his aims. This was a man who in attempting to shape the time was himself shaped by it.
Certainly no such cut and dried portrait as that previously portrayed emerges.‘“Hier ist die Grenze […] Wollen wir darüber hinaus?” : Borders and Ambiguity in Fontane’s "Unwiederbringlich"White, Michael Jameshttp://hdl.handle.net/10023/35872017-12-31T00:32:25Z2010-01-01T00:00:00ZTheodor Fontane’s „Unwiederbringlich“ may be productively read as an exploration of boundaries. The historical context creates a distinction between bordered and unbordered spaces, between crossing thresholds and staying within limits. This double focus mirrors the text’s thematics, in which clear thresholds in morality and time are balanced against exhortations to relativism. The represented landscape reproduces this antithesis and functions as a symbolic map against which Holk’s and Christine’s actions and feelings may be read, charting trespass and ironic misunderstanding. A study of boundaries in the text reveals a complex and multifaceted spatial symbol appropriate to a literary exploration of thresholds in human life.
Sonderheft "Grenzen im Raum, Grenzen in der Literatur"
2010-01-01T00:00:00ZWhite, Michael JamesTheodor Fontane’s „Unwiederbringlich“ may be productively read as an exploration of boundaries. The historical context creates a distinction between bordered and unbordered spaces, between crossing thresholds and staying within limits. This double focus mirrors the text’s thematics, in which clear thresholds in morality and time are balanced against exhortations to relativism. The represented landscape reproduces this antithesis and functions as a symbolic map against which Holk’s and Christine’s actions and feelings may be read, charting trespass and ironic misunderstanding. A study of boundaries in the text reveals a complex and multifaceted spatial symbol appropriate to a literary exploration of thresholds in human life.Bread and cinema : Baghdad in al-Nakhla wa-'l-jiran by Gha'ib Tu'ma FarmanCaiani, FabioCobham, Catherine Maryhttp://hdl.handle.net/10023/35862018-01-07T02:33:36Z2010-01-01T00:00:00ZAl-Nakhla wa-'l-jīrān (‘The Palm Tree and the Neighbours', 1966) has been largely neglected outside the Arab world, despite being hailed as ‘the true beginning’ of the Iraqi novel. After an introduction to Farmān and the intellectual climate in which he started writing, the article goes on to discuss: the sophisticated realism of the novel, by contrasting it to that of its alleged sources, including Naguib Mahfouz's Zuqāq al-midaqq; and the depiction of Baghdad through a detailed analysis of how space is evoked in the text (with reference to the readings of the novel by Arab critics and also to the writings of Auerbach and Bachelard). The representations of Baghdad range from lyrical evocations to humorous and poignant dramatisations of the city during the British occupation in World War II. Space is seen lived, imagined and reinvented by its inhabitants through traditional storytelling and the world of cinema in a way that gives life and meaning to the much abused literary term of realism.
2010-01-01T00:00:00ZCaiani, FabioCobham, Catherine MaryAl-Nakhla wa-'l-jīrān (‘The Palm Tree and the Neighbours', 1966) has been largely neglected outside the Arab world, despite being hailed as ‘the true beginning’ of the Iraqi novel. After an introduction to Farmān and the intellectual climate in which he started writing, the article goes on to discuss: the sophisticated realism of the novel, by contrasting it to that of its alleged sources, including Naguib Mahfouz's Zuqāq al-midaqq; and the depiction of Baghdad through a detailed analysis of how space is evoked in the text (with reference to the readings of the novel by Arab critics and also to the writings of Auerbach and Bachelard). The representations of Baghdad range from lyrical evocations to humorous and poignant dramatisations of the city during the British occupation in World War II. Space is seen lived, imagined and reinvented by its inhabitants through traditional storytelling and the world of cinema in a way that gives life and meaning to the much abused literary term of realism.khushub musannadah (Quran 63.4) and Epigraphic South Arabian ms3ndElmaz, Orhanhttp://hdl.handle.net/10023/35772017-12-31T00:38:41Z2011-01-01T00:00:00Z2011-01-01T00:00:00ZElmaz, OrhanEmmanuel de Martonne et la naissance de la Grande RoumanieBowd, Gavin Philiphttp://hdl.handle.net/10023/35692017-12-31T00:31:53Z2011-01-01T00:00:00ZThe research of Emmanuel de Martonne (1873–1955) in the field of physical goegraphy, in its many forms, made him the leading geographer, not only in France, but on an international level. His immense body of work also covers human geography : La Valachie, a doctoral thesis published in 1902, remains a model of the Vidalian regional monograph. But it must be pointed out that de Martonne’s work is not limited to a strictly scientific and disinterested domain. By its very nature, his geographical work is bound up with history, and therefore political circumstances, something which is clearly displayed in his long and passionate relationship with Romania. It is before the Great War, on the frontier between Hungary and Romania, that Emmanuel de Martonne begins his work as a geographer. Enamoured of a landscape and a people, this eminent scholar will serve the cause of ‘Greater Romania’ : firstly as a supporter of Romanian intervention in the European conflict, then as a ‘drawer of frontiers’ at the Versailles Peace Conference. Here we see how geography can be used in political projects, rivalries over territories and debates on identity.
2011-01-01T00:00:00ZBowd, Gavin PhilipThe research of Emmanuel de Martonne (1873–1955) in the field of physical goegraphy, in its many forms, made him the leading geographer, not only in France, but on an international level. His immense body of work also covers human geography : La Valachie, a doctoral thesis published in 1902, remains a model of the Vidalian regional monograph. But it must be pointed out that de Martonne’s work is not limited to a strictly scientific and disinterested domain. By its very nature, his geographical work is bound up with history, and therefore political circumstances, something which is clearly displayed in his long and passionate relationship with Romania. It is before the Great War, on the frontier between Hungary and Romania, that Emmanuel de Martonne begins his work as a geographer. Enamoured of a landscape and a people, this eminent scholar will serve the cause of ‘Greater Romania’ : firstly as a supporter of Romanian intervention in the European conflict, then as a ‘drawer of frontiers’ at the Versailles Peace Conference. Here we see how geography can be used in political projects, rivalries over territories and debates on identity.The displaced I : a poetics of exile in Spanish autobiographical writing by womenCadman, Jenniferhttp://hdl.handle.net/10023/35542017-03-04T00:16:12Z2013-06-27T00:00:00ZLiterary responses to Republican exile are diverse and autobiographical works have emerged as a significant modality of this exilic literature. Utilising poetics as a mode of inquiry, this thesis aims to examine some of the complex and nuanced ways in which exile has shaped autobiographical writing by both first and second-generation female exiles. To this end, I trace a poetics of exile in a selected corpus of nineteen autobiographical works by twelve authors: Constancia de la Mora, Isabel Oyarzábal de Palencia, Silvia Mistral, Clara Campoamor, Victoria Kent, Luisa Carnés, Remedios Oliva Berenguer, Francisca Muñoz Alday, Angelina Muñiz-Huberman, María Rosa Lojo, María Luisa Elío and Arantzazu Amezaga Iribarren. These texts were published across a seventy year period (1939 – 2009) in a number of geographical locations and written in a variety of circumstances. Exilic autobiographical texts are not homogeneous and relatively few have adhered to traditional models of autobiography. As such, the works examined are drawn from a variety of autobiographical sub-genres including propagandistic autobiographies, diaries, political essays, hybrid texts, autofiction, memoirs, childhood autobiographies, more experimental semi-autobiographical texts and a film. The main body of this thesis presents six aspects of a poetics of exile — the notion of the addressee, generic hybridization, polyphony, the propagation of collective memory, postmemory, and retroprogressive representations of childhood — and adopts a multi-disciplinary approach that draws upon a number of fields. This thesis aims to offer an illumination of the breadth and difference of women’s exilic autobiographical writing as highlighted in the identification of six very different aspects of a poetics of exile.
2013-06-27T00:00:00ZCadman, JenniferLiterary responses to Republican exile are diverse and autobiographical works have emerged as a significant modality of this exilic literature. Utilising poetics as a mode of inquiry, this thesis aims to examine some of the complex and nuanced ways in which exile has shaped autobiographical writing by both first and second-generation female exiles. To this end, I trace a poetics of exile in a selected corpus of nineteen autobiographical works by twelve authors: Constancia de la Mora, Isabel Oyarzábal de Palencia, Silvia Mistral, Clara Campoamor, Victoria Kent, Luisa Carnés, Remedios Oliva Berenguer, Francisca Muñoz Alday, Angelina Muñiz-Huberman, María Rosa Lojo, María Luisa Elío and Arantzazu Amezaga Iribarren. These texts were published across a seventy year period (1939 – 2009) in a number of geographical locations and written in a variety of circumstances. Exilic autobiographical texts are not homogeneous and relatively few have adhered to traditional models of autobiography. As such, the works examined are drawn from a variety of autobiographical sub-genres including propagandistic autobiographies, diaries, political essays, hybrid texts, autofiction, memoirs, childhood autobiographies, more experimental semi-autobiographical texts and a film. The main body of this thesis presents six aspects of a poetics of exile — the notion of the addressee, generic hybridization, polyphony, the propagation of collective memory, postmemory, and retroprogressive representations of childhood — and adopts a multi-disciplinary approach that draws upon a number of fields. This thesis aims to offer an illumination of the breadth and difference of women’s exilic autobiographical writing as highlighted in the identification of six very different aspects of a poetics of exile.Fantasising the self, fantasising the other : memory and re-visions in Mario Martone's L'amore molestoRiccobono, Rossella Mariahttp://hdl.handle.net/10023/35412017-12-31T00:30:33Z2010-09-01T00:00:00Z2010-09-01T00:00:00ZRiccobono, Rossella Maria“The ‘Ars vivendi’ of Laura Mañà’s Morir en San Hilario/To Die in San Hilario (2005)”Bentley, Bernard Pierre Emilehttp://hdl.handle.net/10023/35402018-01-07T02:32:06Z2012-11-21T00:00:00ZOver the past decade Spanish-Language Cinema has established itself beside Spanish and Latin American Cinema, and Morir en San Hilario is a good example of these new flexible collaborations rather than a strict transnational co-production. Billed as a comedy, the film could also be described as a variation on the road film, a circular journey to Utopia, a Spanish village/pueblo film, and a twenty-first-century ‘Ars moriendi’ developing the topos of ‘Homo viator’. This is not a frequent combination to be found on cinema screens and Laura Mañà’s gamble was to integrate these ingredients and create a fable to reflect on life and death. She does this through comedy, exaggerations, parody and a narrative style identified as magic realism. Her originality, however, overlaps with the lasting legacy of the fifteenth-century Castilian soldier-poet, Jorge Manrique (c.1440-1479) and his ‘Stanzas written upon the death of his father’, a landmark of Spanish Literature.
2012-11-21T00:00:00ZBentley, Bernard Pierre EmileOver the past decade Spanish-Language Cinema has established itself beside Spanish and Latin American Cinema, and Morir en San Hilario is a good example of these new flexible collaborations rather than a strict transnational co-production. Billed as a comedy, the film could also be described as a variation on the road film, a circular journey to Utopia, a Spanish village/pueblo film, and a twenty-first-century ‘Ars moriendi’ developing the topos of ‘Homo viator’. This is not a frequent combination to be found on cinema screens and Laura Mañà’s gamble was to integrate these ingredients and create a fable to reflect on life and death. She does this through comedy, exaggerations, parody and a narrative style identified as magic realism. Her originality, however, overlaps with the lasting legacy of the fifteenth-century Castilian soldier-poet, Jorge Manrique (c.1440-1479) and his ‘Stanzas written upon the death of his father’, a landmark of Spanish Literature.El pronunciamiento mexicano del siglo XIX : Hacia una nueva tipologíaFowler, Willhttp://hdl.handle.net/10023/35232018-01-07T01:32:04Z2009-07-01T00:00:00ZTras la guerra de Independencia (1810-1821) estallaron más de 1 500 pronunciamientos entre el Plan de Iguala de 1821 y el Plan de Tuxtepec de 1876. En varios casos degeneraron en enfrentamientos de una violencia atroz como el saqueo del Parián en la ciudad de México de 1828. En otros resultaron en guerras civiles brutales (1832, 1854-1855, 1858-1860). En muchos casos, sin embargo, sus demandas fueron atendidas o sofocadas dependiendo de cuántos pronunciamientos de adhesión recibieron. Este artículo busca redefinir la práctica del pronunciamiento en México, haciendo hincapié en el protagonismo que tuvieron grupos e instituciones civiles al adoptar este medio legítimo, aunque no constitucional, para forzar cambios políticos tanto a nivel regional como nacional durante las primeras décadas nacionales.
2009-07-01T00:00:00ZFowler, WillTras la guerra de Independencia (1810-1821) estallaron más de 1 500 pronunciamientos entre el Plan de Iguala de 1821 y el Plan de Tuxtepec de 1876. En varios casos degeneraron en enfrentamientos de una violencia atroz como el saqueo del Parián en la ciudad de México de 1828. En otros resultaron en guerras civiles brutales (1832, 1854-1855, 1858-1860). En muchos casos, sin embargo, sus demandas fueron atendidas o sofocadas dependiendo de cuántos pronunciamientos de adhesión recibieron. Este artículo busca redefinir la práctica del pronunciamiento en México, haciendo hincapié en el protagonismo que tuvieron grupos e instituciones civiles al adoptar este medio legítimo, aunque no constitucional, para forzar cambios políticos tanto a nivel regional como nacional durante las primeras décadas nacionales.Primi influssi culturali italo-veneti sull'inglese : la testimonianza dei venezianismi in Florio, Coryate e JonsonFerguson, Ronniehttp://hdl.handle.net/10023/35222017-12-31T00:31:56Z2012-11-26T00:00:00ZThis article demonstates that the earliest body of Italianisms in English, in the sixteenth and early seventeenth centuries, was in large measure of Venetian origin. After establishing and dating the fifty Venetianisms that entered English in this period the study goes on to analyse Venetian lexical influence in John Florio's Italian-English dictionaries (1598 and 1611), in Thomas Coryate's travel book (the "Crudities") (1611) and in Ben Jonson's play "Volpone" (1607) set in Venice.
2012-11-26T00:00:00ZFerguson, RonnieThis article demonstates that the earliest body of Italianisms in English, in the sixteenth and early seventeenth centuries, was in large measure of Venetian origin. After establishing and dating the fifty Venetianisms that entered English in this period the study goes on to analyse Venetian lexical influence in John Florio's Italian-English dictionaries (1598 and 1611), in Thomas Coryate's travel book (the "Crudities") (1611) and in Ben Jonson's play "Volpone" (1607) set in Venice.Double time : Facing the future in migration’s pastDuncan, Derek Egertonhttp://hdl.handle.net/10023/35212017-12-31T00:32:19Z2011-01-01T00:00:00ZInterpretations of Italian films about migration tend to refer to the historical experience of emigration or of colonialism as the historical coordinates through which these films are best understood. This article looks at four recent films featuring migrants in prominent roles that appear to elide such an interpretive framework. While the past and its intrusive effects do feature strongly in these films, it is difficult to produce a predictable linear and causal narrative that would link past, present, and future in predictable ways. Stylistically, the four films also represent a notable move away from the realist political agenda and aesthetic that has tended to dominate Italian film production on the topic of migration. This article argues that their adoption of the features that recall those of film noir (in its Italian manifestation) suggests a new range of thematic and social concerns that refer as much to possible futures as well as known pasts. There is a particular focus on the topic of bodily reproduction which is no longer limited to the sphere of the sexual. The opportunities offered by technology for the body to reproduce in new ways alters the parameters of how the nation might be imagined.
2011-01-01T00:00:00ZDuncan, Derek EgertonInterpretations of Italian films about migration tend to refer to the historical experience of emigration or of colonialism as the historical coordinates through which these films are best understood. This article looks at four recent films featuring migrants in prominent roles that appear to elide such an interpretive framework. While the past and its intrusive effects do feature strongly in these films, it is difficult to produce a predictable linear and causal narrative that would link past, present, and future in predictable ways. Stylistically, the four films also represent a notable move away from the realist political agenda and aesthetic that has tended to dominate Italian film production on the topic of migration. This article argues that their adoption of the features that recall those of film noir (in its Italian manifestation) suggests a new range of thematic and social concerns that refer as much to possible futures as well as known pasts. There is a particular focus on the topic of bodily reproduction which is no longer limited to the sphere of the sexual. The opportunities offered by technology for the body to reproduce in new ways alters the parameters of how the nation might be imagined.Perceptions of France : French books in the early libraries of South Australia, 1848-1884Culpin, David Johnhttp://hdl.handle.net/10023/35202018-01-07T02:37:06Z2009-01-01T00:00:00ZIn 1848, the South Australian Library and Mechanics’ Institute came into existence. It was the first stable library in South Australia. In 1856 its books passed to the library of the South Australian Institute, whose holdings continued to grow until 1883, when many of the books were transferred to the fledgling Public Library, forerunner of today’s State Library. Between 1848 and 1883 the two early libraries built up a collection of nearly 20,000 works of which a little over 500 were by French authors, and almost half of those books were in French. This paper follows the growth of the collection of French books and examines the nature of the books that were acquired. In doing so it highlights the place which French culture continued to occupy within the intellectual life of early South Australia and illustrates the gradual change of taste as an elite culture was displaced by the demands of a more popular readership.
This work is partially supported by funding from the British Academy
2009-01-01T00:00:00ZCulpin, David JohnIn 1848, the South Australian Library and Mechanics’ Institute came into existence. It was the first stable library in South Australia. In 1856 its books passed to the library of the South Australian Institute, whose holdings continued to grow until 1883, when many of the books were transferred to the fledgling Public Library, forerunner of today’s State Library. Between 1848 and 1883 the two early libraries built up a collection of nearly 20,000 works of which a little over 500 were by French authors, and almost half of those books were in French. This paper follows the growth of the collection of French books and examines the nature of the books that were acquired. In doing so it highlights the place which French culture continued to occupy within the intellectual life of early South Australia and illustrates the gradual change of taste as an elite culture was displaced by the demands of a more popular readership.Scotland for Franco : Charles Saroléa v. The Red DuchessBowd, Gavin Philiphttp://hdl.handle.net/10023/35192017-12-31T00:31:43Z2011-11-01T00:00:00Z2011-11-01T00:00:00ZBowd, Gavin PhilipViolets and abolition : The discourse on slavery in Faustina Saez de Melgar's magazine La Violeta (1862-1866)Partzsch, Henriette Anna Margaretehttp://hdl.handle.net/10023/35072018-01-07T02:33:42Z2012-09-01T00:00:00ZAlthough the commitment of several nineteenth-century Spanish women writers to abolitionism is a well-established fact, not much is known about the concrete forms their engagement took in a society in which the bourgeois ideology of woman as the angel in the house played a prominent role. The close study of the weekly magazine La Violeta (1862-66), directed by Faustina Sáez de Melgar, shows how the active and public support for this international cause was linked to the development of a model of compassionate intervention by women, most notably formulated by the magazine's regular contributor Rogelia León in response to the very mixed reviews of the foundational meeting of a ladies' abolitionist society. The press coverage of this event clearly demonstrates how political conflict is cast in terms of gender and class and used to threaten middle-class women who step into the political sphere. The analysis of the discourse on slavery reveals an equal importance of both categories in La Violeta, together with the patronising and casual racism of its authors.
2012-09-01T00:00:00ZPartzsch, Henriette Anna MargareteAlthough the commitment of several nineteenth-century Spanish women writers to abolitionism is a well-established fact, not much is known about the concrete forms their engagement took in a society in which the bourgeois ideology of woman as the angel in the house played a prominent role. The close study of the weekly magazine La Violeta (1862-66), directed by Faustina Sáez de Melgar, shows how the active and public support for this international cause was linked to the development of a model of compassionate intervention by women, most notably formulated by the magazine's regular contributor Rogelia León in response to the very mixed reviews of the foundational meeting of a ladies' abolitionist society. The press coverage of this event clearly demonstrates how political conflict is cast in terms of gender and class and used to threaten middle-class women who step into the political sphere. The analysis of the discourse on slavery reveals an equal importance of both categories in La Violeta, together with the patronising and casual racism of its authors.The Letter of the law : literacy and orality in S. A. Panov's Murder in Medveditsa VillageWhitehead, Claire Eugeniehttp://hdl.handle.net/10023/34852018-01-07T01:32:03Z2011-01-01T00:00:00ZThis article takes as its subject a nineteenth-century detective story: S.A. Panov’s Murder in Medveditsa Village (1872). Panov’s work is remarkable amongst its contemporaries for the way in which it interrogates the relative authority of the written and the spoken word in the criminal investigation and, in so doing, foregrounds the role and status that detective fiction assigns to language. The aim of the present article is to discuss the ambiguously nuanced illustration Panov provides of the relative power of written, spoken and non-verbal language in the particular context of the functioning of the law and the pursuit of the ‘truth’, two cornerstones of detective fiction. Language, and especially the written word, is thus shown to play the decisive role in structuring the various networks of authority operating in and around the fictional world.
2011-01-01T00:00:00ZWhitehead, Claire EugenieThis article takes as its subject a nineteenth-century detective story: S.A. Panov’s Murder in Medveditsa Village (1872). Panov’s work is remarkable amongst its contemporaries for the way in which it interrogates the relative authority of the written and the spoken word in the criminal investigation and, in so doing, foregrounds the role and status that detective fiction assigns to language. The aim of the present article is to discuss the ambiguously nuanced illustration Panov provides of the relative power of written, spoken and non-verbal language in the particular context of the functioning of the law and the pursuit of the ‘truth’, two cornerstones of detective fiction. Language, and especially the written word, is thus shown to play the decisive role in structuring the various networks of authority operating in and around the fictional world.Paul Valéry and the search for poetic rhythmEvans, David Elwynhttp://hdl.handle.net/10023/34842018-01-07T01:31:35Z2010-07-01T00:00:00ZThroughout his theoretical writings, Valéry insists on two fundamental principles: poetic rhythm is undefinable and yet it is central to poetry. Although his verse practice evolves from irregularity to regularity, Valéry insists that predictable metrical forms are no guarantee of poeticity, and rejects the Romantic model of rhythmic mimesis based on the cosmos, nature or the human body. It is not by confirming the meaningfulness of regular patterns, therefore, that poetic rhythm signifies; rather, the complex overlapping of multiple, elusive and unanalysable rhythms provides a source of questions to which the answer is constantly deferred; and that, for Valéry, is the definition of poetry.
2010-07-01T00:00:00ZEvans, David ElwynThroughout his theoretical writings, Valéry insists on two fundamental principles: poetic rhythm is undefinable and yet it is central to poetry. Although his verse practice evolves from irregularity to regularity, Valéry insists that predictable metrical forms are no guarantee of poeticity, and rejects the Romantic model of rhythmic mimesis based on the cosmos, nature or the human body. It is not by confirming the meaningfulness of regular patterns, therefore, that poetic rhythm signifies; rather, the complex overlapping of multiple, elusive and unanalysable rhythms provides a source of questions to which the answer is constantly deferred; and that, for Valéry, is the definition of poetry.A phonological description of Modern Standard ArabicSitrak, Sami J.http://hdl.handle.net/10023/34822016-03-28T12:17:12Z1981-01-01T00:00:00ZThe present work is concerned with some aspects of the phonology of Modern Standard Arabic. The thesis is divided into two parts: Part I, dealing with the theoretical background, consists of three chapters, and each chapter sub-branches into a number of smaller units. Chapter I is concerned with the Axiomatic Functionalism principle of maintaining a strict distinction between the linguistic theory, linguistic descriptions, and the speech-phenomena; it also deals with the 'hypothetico-deductive method' which sets out to explain the philosophical principles underlying the 'Axiomatic Functionalist' approach. This chapter is divided into three sections, the first deals with the 'structure of the theory', the second concerns 'linguistic description and the speech-phenomena', followed by the 'criterion for evaluating the linguistic description and theory'. Chapter II treats the classification of semiotic systems in Axiomatic Functionalism as well as explaining the definition of 'Language' as "a semiotic system with a double articulation" (Mulder 1968, 'b'). Though this is a type of definition found in most functionalist approaches (Martinet 1962 1nd 1964), in Axiomatic Functionalism it has a unique interpretation. Chapter III, which deals with a brief explanation of the phonological system as a whole, comprises two sections, the first of which discusses 'phonematics and phonotactics', and the second introduces some of the main theoretical notions of the phonological theory, such as the notions "phoneme", "distinctive feature", "archi-phoneme", "position", "distributional unit", "archi-position", which is relevant for the phonological description of Modern Standard Arabic. This introduction to the phonological sub-component of the theory is important because description cannot take place without the knowledge of a theory, since a description is "the application of a particular linguistic theory to a selected field of linguistic-phenomena" (Mulder 1980, b). Part II, dealing with the phonological description, consists of five chapters (Chaps. IV-VIII). Chapter IV treats the distributional unit(s) and archi-position of Modern Standard Arabic. Chapter V deals with the consonantal phonemes, their identities and distinctive functions, as well as their realisations. Chapter VI explains the types of neutralisation and the consonantal archi-phonemes. Chapter VII deals with the vowel and semi-vowel phonemes, their identities and distinctive function as well as their realisations. Chapter VIII deals with the neutralisation and vocalic archi-phonemes.
1981-01-01T00:00:00ZSitrak, Sami J.The present work is concerned with some aspects of the phonology of Modern Standard Arabic. The thesis is divided into two parts: Part I, dealing with the theoretical background, consists of three chapters, and each chapter sub-branches into a number of smaller units. Chapter I is concerned with the Axiomatic Functionalism principle of maintaining a strict distinction between the linguistic theory, linguistic descriptions, and the speech-phenomena; it also deals with the 'hypothetico-deductive method' which sets out to explain the philosophical principles underlying the 'Axiomatic Functionalist' approach. This chapter is divided into three sections, the first deals with the 'structure of the theory', the second concerns 'linguistic description and the speech-phenomena', followed by the 'criterion for evaluating the linguistic description and theory'. Chapter II treats the classification of semiotic systems in Axiomatic Functionalism as well as explaining the definition of 'Language' as "a semiotic system with a double articulation" (Mulder 1968, 'b'). Though this is a type of definition found in most functionalist approaches (Martinet 1962 1nd 1964), in Axiomatic Functionalism it has a unique interpretation. Chapter III, which deals with a brief explanation of the phonological system as a whole, comprises two sections, the first of which discusses 'phonematics and phonotactics', and the second introduces some of the main theoretical notions of the phonological theory, such as the notions "phoneme", "distinctive feature", "archi-phoneme", "position", "distributional unit", "archi-position", which is relevant for the phonological description of Modern Standard Arabic. This introduction to the phonological sub-component of the theory is important because description cannot take place without the knowledge of a theory, since a description is "the application of a particular linguistic theory to a selected field of linguistic-phenomena" (Mulder 1980, b). Part II, dealing with the phonological description, consists of five chapters (Chaps. IV-VIII). Chapter IV treats the distributional unit(s) and archi-position of Modern Standard Arabic. Chapter V deals with the consonantal phonemes, their identities and distinctive functions, as well as their realisations. Chapter VI explains the types of neutralisation and the consonantal archi-phonemes. Chapter VII deals with the vowel and semi-vowel phonemes, their identities and distinctive function as well as their realisations. Chapter VIII deals with the neutralisation and vocalic archi-phonemes.Pierre Reverdy : lyrisme de la réalité. Poétique du visuelBrogly, Marie-Noëllehttp://hdl.handle.net/10023/34132016-03-28T12:04:01Z2013-06-01T00:00:00ZThis thesis aims to provide the first complete study of the poetics of Pierre Reverdy, who, although famous and influential during his lifetime, has not been widely published or researched. This thesis hopes to change this, as his complete works are just now being republished. The first chapter lays the basis for his conception of reality as something in which man is trapped, and which calls for a distance that, in Reverdy’s eyes, only poetry can offer. His association of the image and lyricism, is presented and analysed. The second chapter aims to provide a linguistic understanding of the poetic image called for and devises the new concept of “illumination”, to give an account of the phenomenon at work in his verse. The third chapter focuses on lyricism, as Reverdy tries to reinvent it for the twentieth century: independent of the self, dealing only with expressing the affective tonalities of the poet and acting as a catalyst for the image. The last chapter defines the visual qualities of Reverdy’s poetry by first re-examining the title of cubist poet that had been attached to him, before focussing on the many forms that the image takes in his work (imagery, but also typography, mental imagery), and finally providing the first analysis of the relationship between paintings and poems in the famous Livres d’artistes that the poet created, in collaboration with Picasso, Matisse, Juan Gris and others. It establishes that while the poems can indeed be read without the illustrations with which they were conceived, these editions deprive the reader of the opportunity to remind himself that poetry is an experience rather than a quest for meaning and also of an introduction to the unique visual qualities of Reverdy’s poetry.
2013-06-01T00:00:00ZBrogly, Marie-NoëlleThis thesis aims to provide the first complete study of the poetics of Pierre Reverdy, who, although famous and influential during his lifetime, has not been widely published or researched. This thesis hopes to change this, as his complete works are just now being republished. The first chapter lays the basis for his conception of reality as something in which man is trapped, and which calls for a distance that, in Reverdy’s eyes, only poetry can offer. His association of the image and lyricism, is presented and analysed. The second chapter aims to provide a linguistic understanding of the poetic image called for and devises the new concept of “illumination”, to give an account of the phenomenon at work in his verse. The third chapter focuses on lyricism, as Reverdy tries to reinvent it for the twentieth century: independent of the self, dealing only with expressing the affective tonalities of the poet and acting as a catalyst for the image. The last chapter defines the visual qualities of Reverdy’s poetry by first re-examining the title of cubist poet that had been attached to him, before focussing on the many forms that the image takes in his work (imagery, but also typography, mental imagery), and finally providing the first analysis of the relationship between paintings and poems in the famous Livres d’artistes that the poet created, in collaboration with Picasso, Matisse, Juan Gris and others. It establishes that while the poems can indeed be read without the illustrations with which they were conceived, these editions deprive the reader of the opportunity to remind himself that poetry is an experience rather than a quest for meaning and also of an introduction to the unique visual qualities of Reverdy’s poetry.Los hombres-perro de Felisberto HernándezSan Roman, Gustavo Franciscohttp://hdl.handle.net/10023/33662017-12-31T00:38:44Z2006-01-01T00:00:00Z2006-01-01T00:00:00ZSan Roman, Gustavo FranciscoHumour as political resistance and social criticism: Mexican comics and cinema, 1969-1976.Neria, Leticiahttp://hdl.handle.net/10023/31962016-03-28T12:36:50Z2012-06-21T00:00:00ZThis research focuses on the study of Mexican comics and films from 1969 to 1976. It uses the language of humour to understand how these media expressed contemporary social and political concerns. After reviewing theories of humour and proposing an eclectic theory to analyse visual sources, three different comic books and four films were examined in order to gain an understanding of the issues that troubled the society at the time. This eclectic theory considered academic approaches from a variety of disciplines, including philosophy, sociology, linguistics, psychology, and others. The theory of humour proposed in this thesis can be used to study humorous visual expressions from other cultures and historical times.
Thus, one of the novelties of this research is the proposal of an eclectic theory of humour to study visual culture. A second original contribution of this thesis is that it proposes an approach to social history through the analysis of two relevant cultural manifestations: humour and visual culture.
This work also invites us to reflect on Mexican society during the presidency of Luis Echeverría Álvarez, as well as the circumstances of the mass media and the arts, both of which enjoyed some freedom in what was called the apertura democrática. Nevertheless, since some topics were still prickly and difficult, humour helped society discuss them, kept them on the social agenda, and acted as a safety valve to express the discomfort of the members of society.
Finally, this thesis considers social manifestations, such as humour, as sources through which to study culture and history; it highlights the relevance of the cultural legacy of comics which have been considered as a sub-cultural product; and it shows how we can use films to discover something new about a specific time and social group.
Electronic version excludes material for which permission has not been granted by the rights holder
2012-06-21T00:00:00ZNeria, LeticiaThis research focuses on the study of Mexican comics and films from 1969 to 1976. It uses the language of humour to understand how these media expressed contemporary social and political concerns. After reviewing theories of humour and proposing an eclectic theory to analyse visual sources, three different comic books and four films were examined in order to gain an understanding of the issues that troubled the society at the time. This eclectic theory considered academic approaches from a variety of disciplines, including philosophy, sociology, linguistics, psychology, and others. The theory of humour proposed in this thesis can be used to study humorous visual expressions from other cultures and historical times.
Thus, one of the novelties of this research is the proposal of an eclectic theory of humour to study visual culture. A second original contribution of this thesis is that it proposes an approach to social history through the analysis of two relevant cultural manifestations: humour and visual culture.
This work also invites us to reflect on Mexican society during the presidency of Luis Echeverría Álvarez, as well as the circumstances of the mass media and the arts, both of which enjoyed some freedom in what was called the apertura democrática. Nevertheless, since some topics were still prickly and difficult, humour helped society discuss them, kept them on the social agenda, and acted as a safety valve to express the discomfort of the members of society.
Finally, this thesis considers social manifestations, such as humour, as sources through which to study culture and history; it highlights the relevance of the cultural legacy of comics which have been considered as a sub-cultural product; and it shows how we can use films to discover something new about a specific time and social group.The pronunciamiento in nineteenth-century Mexico : the case of Jalisco (1821-1852)Doyle, Rosiehttp://hdl.handle.net/10023/30992018-01-30T14:22:51Z2012-06-21T00:00:00ZThe pronunciamiento was a political practice with its origins in early nineteenth-century Spain. It was a form of political petitioning usually undertaken by coalitions of military and civilian actors to make demands against regional and national governments and negotiate political change. The petitions were generally accompanied with the threat of the use of military force should the demands not be met. As such, pronunciamientos have been defined by Will Fowler as “forceful negotiations.” The pronunciamiento developed as a political practice in a context of institutional disarray and contested legitimacy as a response to the constitutional crisis in Spain (1812-1820), and it became a particularly popular political tool in early independent Mexico (1821-1876) in a context in which successive governments experimented with new political systems. The fact that the institutions these governments created needed to acquire a political legitimacy that was stable enough to replace that of the Ancien Regime would prove problematic. It would be this context of uncertain legitimacies that would allow the pronunciamiento to develop a legitimacy of its own.
It was an extra-constitutional, subversive form of political participation. It was used as a last resort by political actors who believed that, in the particular circumstance of having constitutional routes closed to them or of the government having broken the social pact, they had a right to insurrection to protect the people from the abuses of unjust or tyrannical government. As it developed in early independent Mexico, the pronuciamiento became one of the most used practices for effecting political change. Pronunciamientos were used at one time or another by political actors of all social classes and political persuasions. They preceded most of the major political changes of the period on both a regional and national scale, be they changes in government, the introduction of new laws or a change of political system.
Pronunciamientos have often been referred to in the historiography of early independent Mexico as military revolts or coups. The pronunciamiento has thus been seen as a cause of instability and evidence of praetorianism in the political life of nineteenth-century Spain and independent Mexico. However, recent and current research on the subject, including the project at the University of St Andrews “The Pronunciamiento in Independent Mexico 1821 – 1876” of which this PhD is a part, has resulted in a revision of this narrow view of pronunciamientos as revolts and coups. The project and its affiliated researchers have developed a picture of the pronunciamiento as a political practice which was much more intimately involved with the newly developing constitutional institutions than previously thought. This PhD is a contribution to that revision which uses regional history to analyse the nature and evolution of the pronunciamiento. It is a study of the dynamics of and political actors involved in pronunciamientos in the state of Jalisco in western Mexico between 1821 and 1852.
Jalisco in the early national period was a geopolitically important state and a popular place from which to launch pronunciamientos. Many political actors from within and without the state chose to launch pronunciamientos from Jalisco some of which had a significant impact on regional and national politics. To date there has been no thoroughgoing study of the phenomenon of the pronunciamiento as it developed in Jalisco. This analysis of the pronunciamientos which took place in Jalisco shows that pronunciamientos were used by all political actors to effect political change and had a very real effect on the lives of those directly involved as well as those of the general public who witnessed pronunciamientos on the streets of their towns and cities. It shows how pronunciamientos became closely interconnected with the newly developing constitutional institutions and how, while most pronunciamientos were recognized by all political actors as potential bearers of instability, the pronunciamiento was also considered to be a legitimate form of political participation given the extraordinary circumstance of a lack of recognised or legitimate government. The research demonstrates that pronunciamientos launched in Jalisco had a central part to play in the development of the new political order in the “age of democratic revolutions” and during the transition Mexico underwent from having a traditional corporate society and polity to acquiring a modern liberal one.
The findings of this study provide an insight into the way in which political culture developed in Jalisco in the early national period. Alongside regional studies into the pronunciamientos launched in the San Luis Potosí and Yucatán in a similar period carried out by Kerry McDonald and Shara Ali, this research helps to develop a picture of how Mexican pronunciamientos worked at a local level allowing for more accurate generalisations to be made regarding the pronunciamiento as a practice on a national scale. The study also contributes to an understanding of how politics worked in Mexico in periods of institutional disarray, uncertain legitimacy and political transition and how insurrectionary political forms became legitimised.
2012-06-21T00:00:00ZDoyle, RosieThe pronunciamiento was a political practice with its origins in early nineteenth-century Spain. It was a form of political petitioning usually undertaken by coalitions of military and civilian actors to make demands against regional and national governments and negotiate political change. The petitions were generally accompanied with the threat of the use of military force should the demands not be met. As such, pronunciamientos have been defined by Will Fowler as “forceful negotiations.” The pronunciamiento developed as a political practice in a context of institutional disarray and contested legitimacy as a response to the constitutional crisis in Spain (1812-1820), and it became a particularly popular political tool in early independent Mexico (1821-1876) in a context in which successive governments experimented with new political systems. The fact that the institutions these governments created needed to acquire a political legitimacy that was stable enough to replace that of the Ancien Regime would prove problematic. It would be this context of uncertain legitimacies that would allow the pronunciamiento to develop a legitimacy of its own.
It was an extra-constitutional, subversive form of political participation. It was used as a last resort by political actors who believed that, in the particular circumstance of having constitutional routes closed to them or of the government having broken the social pact, they had a right to insurrection to protect the people from the abuses of unjust or tyrannical government. As it developed in early independent Mexico, the pronuciamiento became one of the most used practices for effecting political change. Pronunciamientos were used at one time or another by political actors of all social classes and political persuasions. They preceded most of the major political changes of the period on both a regional and national scale, be they changes in government, the introduction of new laws or a change of political system.
Pronunciamientos have often been referred to in the historiography of early independent Mexico as military revolts or coups. The pronunciamiento has thus been seen as a cause of instability and evidence of praetorianism in the political life of nineteenth-century Spain and independent Mexico. However, recent and current research on the subject, including the project at the University of St Andrews “The Pronunciamiento in Independent Mexico 1821 – 1876” of which this PhD is a part, has resulted in a revision of this narrow view of pronunciamientos as revolts and coups. The project and its affiliated researchers have developed a picture of the pronunciamiento as a political practice which was much more intimately involved with the newly developing constitutional institutions than previously thought. This PhD is a contribution to that revision which uses regional history to analyse the nature and evolution of the pronunciamiento. It is a study of the dynamics of and political actors involved in pronunciamientos in the state of Jalisco in western Mexico between 1821 and 1852.
Jalisco in the early national period was a geopolitically important state and a popular place from which to launch pronunciamientos. Many political actors from within and without the state chose to launch pronunciamientos from Jalisco some of which had a significant impact on regional and national politics. To date there has been no thoroughgoing study of the phenomenon of the pronunciamiento as it developed in Jalisco. This analysis of the pronunciamientos which took place in Jalisco shows that pronunciamientos were used by all political actors to effect political change and had a very real effect on the lives of those directly involved as well as those of the general public who witnessed pronunciamientos on the streets of their towns and cities. It shows how pronunciamientos became closely interconnected with the newly developing constitutional institutions and how, while most pronunciamientos were recognized by all political actors as potential bearers of instability, the pronunciamiento was also considered to be a legitimate form of political participation given the extraordinary circumstance of a lack of recognised or legitimate government. The research demonstrates that pronunciamientos launched in Jalisco had a central part to play in the development of the new political order in the “age of democratic revolutions” and during the transition Mexico underwent from having a traditional corporate society and polity to acquiring a modern liberal one.
The findings of this study provide an insight into the way in which political culture developed in Jalisco in the early national period. Alongside regional studies into the pronunciamientos launched in the San Luis Potosí and Yucatán in a similar period carried out by Kerry McDonald and Shara Ali, this research helps to develop a picture of how Mexican pronunciamientos worked at a local level allowing for more accurate generalisations to be made regarding the pronunciamiento as a practice on a national scale. The study also contributes to an understanding of how politics worked in Mexico in periods of institutional disarray, uncertain legitimacy and political transition and how insurrectionary political forms became legitimised.Creation and marginalisation in women’s writing in mid-twentieth-century Uruguay : the case of Concepción Silva Bélinzon’s poetryMontañez Morillo, María Soledadhttp://hdl.handle.net/10023/30982017-07-14T16:19:11Z2012-01-20T00:00:00ZThis thesis explores how women’s writing in mid-twentieth century Uruguay enables a reconsideration of the intertwined hegemonic practices of literary canon formation and national identity in this seminal period. Within a national history and a cultural tradition conceived of as patriarchal, progressive and homogeneous, in correspondence to a European/Eurocentric concept of time and historicism, women writers struggled to find a recognised position from which to speak. Nevertheless, like other marginal groups, women writers have challenged the hegemonic discourses of modernity in Uruguay, as elsewhere in Latin America, producing what can be described, following Elaine Showalter, as a double-voiced textual strategy that replicates as well as subverts the dominant order.
In this respect, Concepción Silva Bélinzon (Montevideo, 1900-1987) offers a remarkable case study to show how women’s poetry destabilises and renegotiates the great discourses of modernity. Socially and culturally marginalised, Silva Bélinzon’s life demonstrates the failures and limitations of a patriarchal/paternalistic society, while her poetry problematises the homogeneous national discourses of modern Uruguay, exposing the discontinuity inherent to a national history conceived of as masculine, linear and teleological.
Silva Bélinzon’s poetry has been defined as a synthesis of Modernismo and Surrealism, and described as a combination of free associations, biblical references and metaphysical concerns, all expressed within conventional metric forms, notably, the sonnet. Her poetry has been considered incoherent and bizarre, and has thus received little critical attention. However, one of the most interesting characteristics of her poetry has been overlooked. That is, the juxtaposition of different artistic trends and the dialectical tension that exists between the use of random, discontinuous and disconnected images within strict traditional poetic forms.
The theoretical approach of this thesis is predominantly framed by postcolonial, feminist and gender theories, including those of Homi K. Bhabha and Judith Butler. In addition, drawing on Henri Bergson’s work, Matière et mémoire (1896) and Marcel Proust’s well-known idea of mémoire involontaire, I interpret Silva Bélinzon’s elliptical poetry as a virtual journey through layers of the personal and national pasts that thereby deterritorialises the national, hegemonic discourses of the modern nation. Thus, using Silva Bélinzon’s poetry as a case study, the thesis aims to demonstrate how women writers ‘overlap in the act of writing the nation’ (Bhabha 2003: 292).
2012-01-20T00:00:00ZMontañez Morillo, María SoledadThis thesis explores how women’s writing in mid-twentieth century Uruguay enables a reconsideration of the intertwined hegemonic practices of literary canon formation and national identity in this seminal period. Within a national history and a cultural tradition conceived of as patriarchal, progressive and homogeneous, in correspondence to a European/Eurocentric concept of time and historicism, women writers struggled to find a recognised position from which to speak. Nevertheless, like other marginal groups, women writers have challenged the hegemonic discourses of modernity in Uruguay, as elsewhere in Latin America, producing what can be described, following Elaine Showalter, as a double-voiced textual strategy that replicates as well as subverts the dominant order.
In this respect, Concepción Silva Bélinzon (Montevideo, 1900-1987) offers a remarkable case study to show how women’s poetry destabilises and renegotiates the great discourses of modernity. Socially and culturally marginalised, Silva Bélinzon’s life demonstrates the failures and limitations of a patriarchal/paternalistic society, while her poetry problematises the homogeneous national discourses of modern Uruguay, exposing the discontinuity inherent to a national history conceived of as masculine, linear and teleological.
Silva Bélinzon’s poetry has been defined as a synthesis of Modernismo and Surrealism, and described as a combination of free associations, biblical references and metaphysical concerns, all expressed within conventional metric forms, notably, the sonnet. Her poetry has been considered incoherent and bizarre, and has thus received little critical attention. However, one of the most interesting characteristics of her poetry has been overlooked. That is, the juxtaposition of different artistic trends and the dialectical tension that exists between the use of random, discontinuous and disconnected images within strict traditional poetic forms.
The theoretical approach of this thesis is predominantly framed by postcolonial, feminist and gender theories, including those of Homi K. Bhabha and Judith Butler. In addition, drawing on Henri Bergson’s work, Matière et mémoire (1896) and Marcel Proust’s well-known idea of mémoire involontaire, I interpret Silva Bélinzon’s elliptical poetry as a virtual journey through layers of the personal and national pasts that thereby deterritorialises the national, hegemonic discourses of the modern nation. Thus, using Silva Bélinzon’s poetry as a case study, the thesis aims to demonstrate how women writers ‘overlap in the act of writing the nation’ (Bhabha 2003: 292).A description of 'aspectual' phenomena in ArabicSitrak, Sami J.http://hdl.handle.net/10023/29762016-03-28T11:44:34Z1986-01-01T00:00:00ZThe present work is mainly concerned with a description of
the morphological and syntactic analyses of the predicative aspectual
phenomena in Modern Standard Arabic using Axiomatic Functionalism
as its theoretical framework.
The thesis consists of an introduction, three major parts, and
a conclusion. The introduction deals with a brief overview of the
Axiomatic Functionalist theory. Part one, which comprises four
chapters, offers a brief account of the theoretical background of this
work as well as presenting the predicative (verbal and non-verbal)
aspectual phenomena in MSA. Chapter I discusses the term 'aspect',
and the relation between lexical and grammatical aspect. Chapter II
discusses the Arabic language, particularly the category of 'aspect'.
Chapter III discusses the interaction between punctuality and aspect.
Chapter IV is exclusively devoted to methodology; it explains an
explanation of the essential and relevant theoretical notions in grammar,
uniting the description to the theory. It also provides a step-by-step
application of successive criteria for discriminating between
morphological complexes and syntactic complexes.
The second part (Chaps. V & VI), deals with morphological
analysis. Chapter V analyses the category of verb in Arabic. For this
purpose the following paradigms are set up: Verb-root, Aspect, Voice,
Person, Gender, and Number. Each of these contains monemes which
which are constituents of the verbal entity. These monemes commute
with each other yielding a difference in the message conveyed. The
chapter concludes that entities of the verb category in Arabic may
contain the constituent monemes verb-root,
perfective,
imperfective,
active,
passive,
first person, second person, third person, masculine,
feminine,
singular, dual, and plural. Chapter VI deals with the
realisational as pect of the constituent monemes of the complex pleremes
in chapter V. It also deals with the distribution of the allomorphs of
the constituent monemes in question.
Part three (Chaps. VII - IX), deals with the syntactic
description of the aspectual phenomena in MSA. Chapter VII sets up
the distributional unit (model) which accounts for the relations within
the VPB syntagm. This chapter tests the adequacy of the model by
establishing all the VPB syntagms which map onto it. These syntagms
vary according to the type of the verbal nucleus in each of them,
(transitive or intransitive and of what kind). It further deals with
types of non-verbal nucleus I
and the realisations of the predicative
based syntagms (verbal and non-verbal). Chapter VIII deals in detail
with the syntactic relations within the predicative syntagms. It also
deals with the syntactic structures of various as pectual phenomena in
MSA. Chapter IX discusses the syntactic relation within the functional
syntagm in MSA which may form an immediate constituent in a
predicative based syntagm.
A final brief 'Conclusion' points out the need for further research
and development in Axiomatic Functionalism in the field of "semantic
syntagm-analysis".
1986-01-01T00:00:00ZSitrak, Sami J.The present work is mainly concerned with a description of
the morphological and syntactic analyses of the predicative aspectual
phenomena in Modern Standard Arabic using Axiomatic Functionalism
as its theoretical framework.
The thesis consists of an introduction, three major parts, and
a conclusion. The introduction deals with a brief overview of the
Axiomatic Functionalist theory. Part one, which comprises four
chapters, offers a brief account of the theoretical background of this
work as well as presenting the predicative (verbal and non-verbal)
aspectual phenomena in MSA. Chapter I discusses the term 'aspect',
and the relation between lexical and grammatical aspect. Chapter II
discusses the Arabic language, particularly the category of 'aspect'.
Chapter III discusses the interaction between punctuality and aspect.
Chapter IV is exclusively devoted to methodology; it explains an
explanation of the essential and relevant theoretical notions in grammar,
uniting the description to the theory. It also provides a step-by-step
application of successive criteria for discriminating between
morphological complexes and syntactic complexes.
The second part (Chaps. V & VI), deals with morphological
analysis. Chapter V analyses the category of verb in Arabic. For this
purpose the following paradigms are set up: Verb-root, Aspect, Voice,
Person, Gender, and Number. Each of these contains monemes which
which are constituents of the verbal entity. These monemes commute
with each other yielding a difference in the message conveyed. The
chapter concludes that entities of the verb category in Arabic may
contain the constituent monemes verb-root,
perfective,
imperfective,
active,
passive,
first person, second person, third person, masculine,
feminine,
singular, dual, and plural. Chapter VI deals with the
realisational as pect of the constituent monemes of the complex pleremes
in chapter V. It also deals with the distribution of the allomorphs of
the constituent monemes in question.
Part three (Chaps. VII - IX), deals with the syntactic
description of the aspectual phenomena in MSA. Chapter VII sets up
the distributional unit (model) which accounts for the relations within
the VPB syntagm. This chapter tests the adequacy of the model by
establishing all the VPB syntagms which map onto it. These syntagms
vary according to the type of the verbal nucleus in each of them,
(transitive or intransitive and of what kind). It further deals with
types of non-verbal nucleus I
and the realisations of the predicative
based syntagms (verbal and non-verbal). Chapter VIII deals in detail
with the syntactic relations within the predicative syntagms. It also
deals with the syntactic structures of various as pectual phenomena in
MSA. Chapter IX discusses the syntactic relation within the functional
syntagm in MSA which may form an immediate constituent in a
predicative based syntagm.
A final brief 'Conclusion' points out the need for further research
and development in Axiomatic Functionalism in the field of "semantic
syntagm-analysis".The theory, practice and administration of waqf with special reference to the Malayan state of KedahOthman, Muhammad Zain bin Hajihttp://hdl.handle.net/10023/29592016-03-28T11:56:42Z1971-01-01T00:00:00Z1971-01-01T00:00:00ZOthman, Muhammad Zain bin HajiTeaching of Arabic as a foreign language (TAFL) : a study of the communicative approach in relation to ArabicJadwat, Ayoob Y.http://hdl.handle.net/10023/29492016-03-28T11:56:01Z1988-01-01T00:00:00ZThe study is concerned with the problem of how to improve the teaching
of Arabic as a foreign or a second language. It lays down some of the
essential foundation-work necessary for bringing about systematic and
constructive improvements in the teaching of Arabic as a foreign language
(TAFL) by investigating the contributions of modern linguistic sciences
(such as applied linguistics, educational linguistics, psycholinguistics
and sociolinguistics) to the development of foreign language (FL) teaching
and learning. A survey of the literature indicates that a 'revolution' is
currently taking place in FL teaching and that a new approach, known as
the Communicative Approach (CA), has begun to emerge and influence the
teaching of FLs in general, over the last decade or so. Since the CA
is currently being adopted to the teaching of most major FLs and since
this revolution has not yet had much impact on TAPL, the study explores
the possibility of the application of the CA to the teaching of Arabic as
a living language.
The thesis is divided into 7 chapters. Chapter 1 introduces the importance
of viewing the nature of language and FL teaching from a multidimensional
point of view. Chapter 2 outlines the general nature and importance of
the subject matter (i.e. the Arabic language) in a wide context. In order
to understand what has directly or indirectly influenced the teaching
practices of TAFL, Chapter 3 provides an overview of the development of
views of FL teaching approaches and methods in recent times, from
formalism (teacher-centred learning) to functionalism (student -centred
learning). Chapter 4 concentrates on providing an interpretation of
the current 'state of the art' of TPPL in Britain. A theoretical outline
of the CA is presented in Chapter 5. This chapter provides a working
hypothesis of a proposed integrative model for communicative competence
that can be used as a practical reference tool in the relevant areas of
communicative language development In TAPL. Chapter 6 focuses on
one of these areas; communicative syllabus design, in which the stages
in Arabic language programme development and types of communicative
syllabuses are discussed. The last chapter concludes with a suggetion
of specific further research needs in TAFL: communicative teaching
methodology, communicative materials development, communicative
testing techniques and communicative tea cher training.
1988-01-01T00:00:00ZJadwat, Ayoob Y.The study is concerned with the problem of how to improve the teaching
of Arabic as a foreign or a second language. It lays down some of the
essential foundation-work necessary for bringing about systematic and
constructive improvements in the teaching of Arabic as a foreign language
(TAFL) by investigating the contributions of modern linguistic sciences
(such as applied linguistics, educational linguistics, psycholinguistics
and sociolinguistics) to the development of foreign language (FL) teaching
and learning. A survey of the literature indicates that a 'revolution' is
currently taking place in FL teaching and that a new approach, known as
the Communicative Approach (CA), has begun to emerge and influence the
teaching of FLs in general, over the last decade or so. Since the CA
is currently being adopted to the teaching of most major FLs and since
this revolution has not yet had much impact on TAPL, the study explores
the possibility of the application of the CA to the teaching of Arabic as
a living language.
The thesis is divided into 7 chapters. Chapter 1 introduces the importance
of viewing the nature of language and FL teaching from a multidimensional
point of view. Chapter 2 outlines the general nature and importance of
the subject matter (i.e. the Arabic language) in a wide context. In order
to understand what has directly or indirectly influenced the teaching
practices of TAFL, Chapter 3 provides an overview of the development of
views of FL teaching approaches and methods in recent times, from
formalism (teacher-centred learning) to functionalism (student -centred
learning). Chapter 4 concentrates on providing an interpretation of
the current 'state of the art' of TPPL in Britain. A theoretical outline
of the CA is presented in Chapter 5. This chapter provides a working
hypothesis of a proposed integrative model for communicative competence
that can be used as a practical reference tool in the relevant areas of
communicative language development In TAPL. Chapter 6 focuses on
one of these areas; communicative syllabus design, in which the stages
in Arabic language programme development and types of communicative
syllabuses are discussed. The last chapter concludes with a suggetion
of specific further research needs in TAFL: communicative teaching
methodology, communicative materials development, communicative
testing techniques and communicative tea cher training.The Arab tribes from Jāhilīya to Islām : sources and historical trendsEl-Sakkout, Ihab Hamdihttp://hdl.handle.net/10023/29442016-03-28T11:53:05Z1994-01-01T00:00:00ZThis dissertation
aims
to formulate
a view of
Arabian tribalism in the
pre-
Islamic
period and
its development in Islamic times.
The first
part assesses
the historical
usability of
the literary
source
material of
the Jahiliya. The focus is
on oral
historical traditions
-
the
ayyam al-
carab. These
are
found to have
remained
textually fluid
until
the time
of
their
recording.
This fluidity
may
have
affected style and
form but did
not
substantially affect certain
historical
elements.
The
more
inter-tribal
and
less
local the
account was,
the
more reliable
it is likely to be historically. A
sample
comparison
between tribal hostility
and
tribal distribution
showed
that the
accounts seem
to be highly
consistent.
The
second part of
the thesis is
concerned
firstly
with establishing a
Jahili
profile
for two tribal
groups; secondly with
tracing the
affairs of
their
descendants into the Umayyad
period.
The tribal
groups of
Taghlib
and
Ghatafan
were picked
for
examination.
Both
were strong cohesive groups
in the
pre-Islamic period.
In Islamic times, Taghlibis lose importance
since
they
opted
to
remain
Christian, thus, Taghlibis
are virtually
impossible to trace. Ghatafanis
did join Islam
on a
far
greater scale and are often mentioned
in the Islamic
period.
After the
second civil war
Ghatafanis
are only ever mentioned as
individuals. Close kin
continued
to
cooperate
but
cooperation above
this level
was
only conducted within
the Qaysi faction.
The third
part
discusses
changes
in the tribal
system.
A
review of
the
functions
of modern
tribal
genealogies
illuminates the
process
by
which
genealogies can change
in
order
to
reflect changing realities.
Early Arabic
genealogies are clearly seen
to be
also naturally
dynamic
and
the
subject of
deliberate
change.
New links
reflected new realities, particularly
the
political
alliances
forged
under
the Umayyads. A belief in
a single progenitor
led to
a
move
towards
creating genealogical
links to
one ancestor, while
the
conditions of
the
conquests
let to
a regionalization of
tribalism. The
professionalization of
the
Marwanid
army enabled cross-regional
tribal
co-operation which resulted
in
dividing in two the Umayyad
army and
Arab
genealogies.
1994-01-01T00:00:00ZEl-Sakkout, Ihab HamdiThis dissertation
aims
to formulate
a view of
Arabian tribalism in the
pre-
Islamic
period and
its development in Islamic times.
The first
part assesses
the historical
usability of
the literary
source
material of
the Jahiliya. The focus is
on oral
historical traditions
-
the
ayyam al-
carab. These
are
found to have
remained
textually fluid
until
the time
of
their
recording.
This fluidity
may
have
affected style and
form but did
not
substantially affect certain
historical
elements.
The
more
inter-tribal
and
less
local the
account was,
the
more reliable
it is likely to be historically. A
sample
comparison
between tribal hostility
and
tribal distribution
showed
that the
accounts seem
to be highly
consistent.
The
second part of
the thesis is
concerned
firstly
with establishing a
Jahili
profile
for two tribal
groups; secondly with
tracing the
affairs of
their
descendants into the Umayyad
period.
The tribal
groups of
Taghlib
and
Ghatafan
were picked
for
examination.
Both
were strong cohesive groups
in the
pre-Islamic period.
In Islamic times, Taghlibis lose importance
since
they
opted
to
remain
Christian, thus, Taghlibis
are virtually
impossible to trace. Ghatafanis
did join Islam
on a
far
greater scale and are often mentioned
in the Islamic
period.
After the
second civil war
Ghatafanis
are only ever mentioned as
individuals. Close kin
continued
to
cooperate
but
cooperation above
this level
was
only conducted within
the Qaysi faction.
The third
part
discusses
changes
in the tribal
system.
A
review of
the
functions
of modern
tribal
genealogies
illuminates the
process
by
which
genealogies can change
in
order
to
reflect changing realities.
Early Arabic
genealogies are clearly seen
to be
also naturally
dynamic
and
the
subject of
deliberate
change.
New links
reflected new realities, particularly
the
political
alliances
forged
under
the Umayyads. A belief in
a single progenitor
led to
a
move
towards
creating genealogical
links to
one ancestor, while
the
conditions of
the
conquests
let to
a regionalization of
tribalism. The
professionalization of
the
Marwanid
army enabled cross-regional
tribal
co-operation which resulted
in
dividing in two the Umayyad
army and
Arab
genealogies.The Emirate of Damascus in the early Crusading period, 488-549/1095-1154Al-Zanki, Jamal M. H. A.http://hdl.handle.net/10023/29372016-03-28T11:56:05Z1990-01-01T00:00:00ZThis study "The Emirate of Damascus During the Early
Crusading Period 488-549/1095-1154 deals with this
Emirate which was established in 488/1095, after the
defeat and the murder of Taj al-Dawla Tutush near Rayy
in 488/1095 by his nephew Sultan Berkiyaruq Ibn Sult-an
Malik-Sh5h. The dominions of Ti al-Dawla, mainly in
Syria and the Jazira divided between his elder sons King
Fakhr al-Mullik Ridwan in Aleppo and King Shams al-Muliik
Ducfaq in Damascus. The Kingdom of Damascus comprized
south Syria and some parts of the Jazira such as al-
Rahba and Mayyafäriqin.
Zahir al-Din Tughtekln, who was Atabek of King Duclaq, became the de facto ruler of Damascus during the
reign of King Duqaq 488-497/1095-1104. After the death
of Duqaq, Tughtekin was to be the real Amir of Damascus,
and his dynasty was to gain control of the Emirate until
its fall at the hands of Niir al-Din Mahmild of Aleppo in
549/1154.
In this thesis, the following matters are discussed:
1. The conditions which led to the foundation of this
Emirate.
2. The role of Tughtekin in establishing his authority
in the Emirate.
3. The foreign policy of the Emirate, and the factors
which shaped this policy.
4. The effects (on the Emirate) of the coming of the
Crusaders particularly those of Jerusalem.
S. Internal rivalries in the Emirate, and their
influence on the stability of the Emirate and its
external relations.
6. The policy of alliances adopted by the Emirate and
the factors which affected this.
7. The influence of the growing power of Zangi of
Aleppo and Mosul (521-541/1127-1146) on Damascus and
why he did not succeed in annexing Damascus to his
united front in Syria and the Jazira aimed at
challenging the power of the Crusaders.
8. The reasons which helped Mir al-Din Mahmüd Ibn Zangi
of Aleppo to annex Damascus to his state in
549/1154.
9. The importance of the military power of Damascus and
Its role in protecting the Emirate.
Finally a concluding section sums up the achievement
of the Emirate of Damascus in maintaining its
Independence during the period and the role of the
Emirate in the Counter-Crusade.
1990-01-01T00:00:00ZAl-Zanki, Jamal M. H. A.This study "The Emirate of Damascus During the Early
Crusading Period 488-549/1095-1154 deals with this
Emirate which was established in 488/1095, after the
defeat and the murder of Taj al-Dawla Tutush near Rayy
in 488/1095 by his nephew Sultan Berkiyaruq Ibn Sult-an
Malik-Sh5h. The dominions of Ti al-Dawla, mainly in
Syria and the Jazira divided between his elder sons King
Fakhr al-Mullik Ridwan in Aleppo and King Shams al-Muliik
Ducfaq in Damascus. The Kingdom of Damascus comprized
south Syria and some parts of the Jazira such as al-
Rahba and Mayyafäriqin.
Zahir al-Din Tughtekln, who was Atabek of King Duclaq, became the de facto ruler of Damascus during the
reign of King Duqaq 488-497/1095-1104. After the death
of Duqaq, Tughtekin was to be the real Amir of Damascus,
and his dynasty was to gain control of the Emirate until
its fall at the hands of Niir al-Din Mahmild of Aleppo in
549/1154.
In this thesis, the following matters are discussed:
1. The conditions which led to the foundation of this
Emirate.
2. The role of Tughtekin in establishing his authority
in the Emirate.
3. The foreign policy of the Emirate, and the factors
which shaped this policy.
4. The effects (on the Emirate) of the coming of the
Crusaders particularly those of Jerusalem.
S. Internal rivalries in the Emirate, and their
influence on the stability of the Emirate and its
external relations.
6. The policy of alliances adopted by the Emirate and
the factors which affected this.
7. The influence of the growing power of Zangi of
Aleppo and Mosul (521-541/1127-1146) on Damascus and
why he did not succeed in annexing Damascus to his
united front in Syria and the Jazira aimed at
challenging the power of the Crusaders.
8. The reasons which helped Mir al-Din Mahmüd Ibn Zangi
of Aleppo to annex Damascus to his state in
549/1154.
9. The importance of the military power of Damascus and
Its role in protecting the Emirate.
Finally a concluding section sums up the achievement
of the Emirate of Damascus in maintaining its
Independence during the period and the role of the
Emirate in the Counter-Crusade.The principles of abrogation : with special reference to the 'Usūl' of al-JassāsAkram, Mohammadhttp://hdl.handle.net/10023/29362016-03-28T11:56:27Z1987-01-01T00:00:00ZI have
prepared a critical edition of the
portion on a1-Nasikh
wa-l mansukh
from Usul al-Jassas
(Usul
al-figh), by Abu Bakr Ahmad
b.
'Ali
a1-Razi a1-jassas
(d. 370 A. H. ). The
manuscript, used in
this edition,
is preserved under
229 Usul: Dar al-Kutub al-Misriya.
I have
also prepared separate notes
in
order to elucidate and compare
this work with
the views of the renowned Muslim scholars such as
Shafi
'1,
Tabari, Nahhas, Razi, Sarakhsi
and many others. The
manuscript
itself is edited carefully so that to the best
of my
knowledge
no incorrect materials
have failed to be
mentioned
in the footnotes.
I have
also provided references to the Qur'anic
verses and
athar
mentioned
in this work of
jassas.
To discuss the subject of al-Nasikh wa-l mansukh,
I have
also
prepared an introduction. This
section consists of eight chapters.
The first
chapter
is devoted to the description
of the
manuscript and
text along with
the importance
of Usul al-Jassas. The second chapter
is designed to provide
details
of the author's life
and
his
works.
The
third
chapter
deals
with the basic
sources of
Islamic law
and throws
light
on the background
of the phenomenon of naskh. In this chapter
the views of anti-traditionists are also recorded. The fourth
chapter
provides
details
about the principles of abrogation
- whether special
or general together
with the significance of naskh. It also discusses
the problem of the
change of the gibla and informs
us that
naskh
is a
speciality of the Fugaha'.
In
chapters
five to seven,
I have discussed the three
modes
of naskh
described by the Usulis. They are: naskh al-hukm du-na
al-tilawa, naskh al-tilawa
duna
al-hukm and naskh al-hukm wa al-
tilawa. The first
mode
involves the discussion
of the problem of
wasiyya
(bequest)
and
cidda
(waiting
period).
The
second mode
investigates the origin of the Islamic stoning penalty
for
adultery.
The third mode
is
concerned with the Tafsir
of
Q. 87,6-7. In the
final
chapter,
I have
examined jassas'
concept of the relationship of
the Qur'an
with the sunna and vice versa
in the formation
of the ahkam.
1987-01-01T00:00:00ZAkram, MohammadI have
prepared a critical edition of the
portion on a1-Nasikh
wa-l mansukh
from Usul al-Jassas
(Usul
al-figh), by Abu Bakr Ahmad
b.
'Ali
a1-Razi a1-jassas
(d. 370 A. H. ). The
manuscript, used in
this edition,
is preserved under
229 Usul: Dar al-Kutub al-Misriya.
I have
also prepared separate notes
in
order to elucidate and compare
this work with
the views of the renowned Muslim scholars such as
Shafi
'1,
Tabari, Nahhas, Razi, Sarakhsi
and many others. The
manuscript
itself is edited carefully so that to the best
of my
knowledge
no incorrect materials
have failed to be
mentioned
in the footnotes.
I have
also provided references to the Qur'anic
verses and
athar
mentioned
in this work of
jassas.
To discuss the subject of al-Nasikh wa-l mansukh,
I have
also
prepared an introduction. This
section consists of eight chapters.
The first
chapter
is devoted to the description
of the
manuscript and
text along with
the importance
of Usul al-Jassas. The second chapter
is designed to provide
details
of the author's life
and
his
works.
The
third
chapter
deals
with the basic
sources of
Islamic law
and throws
light
on the background
of the phenomenon of naskh. In this chapter
the views of anti-traditionists are also recorded. The fourth
chapter
provides
details
about the principles of abrogation
- whether special
or general together
with the significance of naskh. It also discusses
the problem of the
change of the gibla and informs
us that
naskh
is a
speciality of the Fugaha'.
In
chapters
five to seven,
I have discussed the three
modes
of naskh
described by the Usulis. They are: naskh al-hukm du-na
al-tilawa, naskh al-tilawa
duna
al-hukm and naskh al-hukm wa al-
tilawa. The first
mode
involves the discussion
of the problem of
wasiyya
(bequest)
and
cidda
(waiting
period).
The
second mode
investigates the origin of the Islamic stoning penalty
for
adultery.
The third mode
is
concerned with the Tafsir
of
Q. 87,6-7. In the
final
chapter,
I have
examined jassas'
concept of the relationship of
the Qur'an
with the sunna and vice versa
in the formation
of the ahkam.The relationship between ilm and khabar in the work of al-ShafiiShukri, Abdul Salam Muhammadhttp://hdl.handle.net/10023/29272016-03-28T11:11:39Z1999-01-01T00:00:00ZThis study examines in detail the basis of al-Shafi`i's arguments for the
supremacy of oral tradition over communal legal practice. It concentrates on one
broad issue, the definition of `ilm (knowledge) and one technical issue, the problem
of authenticating a particular khabar (oral tradition or report, plural akhbar, ) and its
binding nature, especially a report of the category known as the specialists' report
(khabar al-khassa). On the first issue, this study examines the concept of knowledge
based on reports (`ilm al-khabar) because it had an important influence on al-Shafi`i.
This is followed by a detailed account of al-Shafi`i's own discussion of `ilm. It brings
out clearly that al-Shafi`i means religious law when discussing `ilm. It also shows
how knowledge of religious law can be obtained. Al-Shafi`i's approach is to restrict
the argument to knowledge of specialised and debatable points, rather than what is
generally accepted. He seeks to prove the indispensability in this area of specialists'
knowledge of reliable documentation external to the law itself. The following chapter
deals with the question of authenticating a khabar from the Prophet (a hadith), not as
purely technical question but within a polemical context in which the practical
difficulty of authenticating a khabar was used by those opposed to the intellectual
dominance of oral tradition as a reason not to use the khabar. In the final chapter al-
Shaf i's arguments with two identifiable schools of opposing thought, ahl al-kaläm
and ahl al-figh, are examined in detail. The thesis as a whole gives a significant
insight into the efficacy and durability of al-Shafi`i's arguments, not so much by
defeating his opponents' arguments but by buttressing those of the defenders and
advocates of oral tradition.
1999-01-01T00:00:00ZShukri, Abdul Salam MuhammadThis study examines in detail the basis of al-Shafi`i's arguments for the
supremacy of oral tradition over communal legal practice. It concentrates on one
broad issue, the definition of `ilm (knowledge) and one technical issue, the problem
of authenticating a particular khabar (oral tradition or report, plural akhbar, ) and its
binding nature, especially a report of the category known as the specialists' report
(khabar al-khassa). On the first issue, this study examines the concept of knowledge
based on reports (`ilm al-khabar) because it had an important influence on al-Shafi`i.
This is followed by a detailed account of al-Shafi`i's own discussion of `ilm. It brings
out clearly that al-Shafi`i means religious law when discussing `ilm. It also shows
how knowledge of religious law can be obtained. Al-Shafi`i's approach is to restrict
the argument to knowledge of specialised and debatable points, rather than what is
generally accepted. He seeks to prove the indispensability in this area of specialists'
knowledge of reliable documentation external to the law itself. The following chapter
deals with the question of authenticating a khabar from the Prophet (a hadith), not as
purely technical question but within a polemical context in which the practical
difficulty of authenticating a khabar was used by those opposed to the intellectual
dominance of oral tradition as a reason not to use the khabar. In the final chapter al-
Shaf i's arguments with two identifiable schools of opposing thought, ahl al-kaläm
and ahl al-figh, are examined in detail. The thesis as a whole gives a significant
insight into the efficacy and durability of al-Shafi`i's arguments, not so much by
defeating his opponents' arguments but by buttressing those of the defenders and
advocates of oral tradition.The application of semantics to the translation of pre-Islamic poetry: with special reference to the 'Mu'allaqa' of Imru al-QaysHusayn, 'Ala al-Din Ahmadhttp://hdl.handle.net/10023/29262016-03-28T11:05:19Z1984-01-01T00:00:00ZThis thesis, to the best of our knowledge, is the first attempt to
apply semantics to the translation of pre-Islamic poetry. But this is a
thorny path. This poetry is some of the most ambiguous, confusing,
disorganized and perfunctorily investigated in the whole of Arabic
literature. The Mucallaga of Imru'al-Qays, our subject of study, the
crowning achievement of this poetry, is in an even worse case. The
principal problem which confronts the researcher as well as the
translator is the usual one of how best to bridge the cultural gulf of
both time and place, to set this Mucallaga in its cultural context so
as to understand its theme, and achieve the same communicative effect
of the text in translation. Commentaries and lexicons are of. little
help here, because their main interest is the denotation of single
words of this Mucallaga rather than in its organic unity. The setting
of this Mucallaga in its Semitic literary context would cast some light
on its essential theme and hence open new horizons for further comprehensive
research in this field. This is the task we embarked upon in
Chapter 1.
Confronted with fifteen main commentaries, and two English translations
of this Mucallaga, we have resorted to the current semantic
theories in the hope that in one of them we would find a happy solution
to the problem of translating these commentaries, or at'least help in
organizing them systematically. Much to our dismay, however, the bulky
literature on this subject bequeathed to us a welter of controversial
theories, perhaps because semantics is quite a new branch of linguistics.
These contradictory theories have been presented to demonstrate the
difficulty of adopting any one particular semantic theory. Nonetheless,
certain structural semantic relationships have been found to be of
highly significant application.
This, and particularly the structural semantic-relationships as
well as their employment throughout this thesis have been discussed in
Chapter II.
A theory of translation necessarily overlaps with a theory of
semantics. Chapter II made it clear that the help we might have
expected from semantics is but a pipe-dream. Instead of bemoaning,
philological, linguistic and socio-linguistic approaches to the theory
and practice of translation have been suggested. In Chapter III these
approaches have been demonstrated and applied to the translations of
(J. ) and (A. ) who, owing to the ambiguity of the text, have resorted to
the commentaries - appendices of which have been attached.
It has been concluded that the full translation of this Mucallaqa
is almost impossible because of the myriad phonological, semantic and
cultural problems. However, it has been argued that the development of
a more comprehensive semantic theory upon which an eclectic theory of
translation could depend, and a more profound and accurate investigation
of the essential theme of this Mucallaga would get rid of a lot of the
problems of research and translation.
1984-01-01T00:00:00ZHusayn, 'Ala al-Din AhmadThis thesis, to the best of our knowledge, is the first attempt to
apply semantics to the translation of pre-Islamic poetry. But this is a
thorny path. This poetry is some of the most ambiguous, confusing,
disorganized and perfunctorily investigated in the whole of Arabic
literature. The Mucallaga of Imru'al-Qays, our subject of study, the
crowning achievement of this poetry, is in an even worse case. The
principal problem which confronts the researcher as well as the
translator is the usual one of how best to bridge the cultural gulf of
both time and place, to set this Mucallaga in its cultural context so
as to understand its theme, and achieve the same communicative effect
of the text in translation. Commentaries and lexicons are of. little
help here, because their main interest is the denotation of single
words of this Mucallaga rather than in its organic unity. The setting
of this Mucallaga in its Semitic literary context would cast some light
on its essential theme and hence open new horizons for further comprehensive
research in this field. This is the task we embarked upon in
Chapter 1.
Confronted with fifteen main commentaries, and two English translations
of this Mucallaga, we have resorted to the current semantic
theories in the hope that in one of them we would find a happy solution
to the problem of translating these commentaries, or at'least help in
organizing them systematically. Much to our dismay, however, the bulky
literature on this subject bequeathed to us a welter of controversial
theories, perhaps because semantics is quite a new branch of linguistics.
These contradictory theories have been presented to demonstrate the
difficulty of adopting any one particular semantic theory. Nonetheless,
certain structural semantic relationships have been found to be of
highly significant application.
This, and particularly the structural semantic-relationships as
well as their employment throughout this thesis have been discussed in
Chapter II.
A theory of translation necessarily overlaps with a theory of
semantics. Chapter II made it clear that the help we might have
expected from semantics is but a pipe-dream. Instead of bemoaning,
philological, linguistic and socio-linguistic approaches to the theory
and practice of translation have been suggested. In Chapter III these
approaches have been demonstrated and applied to the translations of
(J. ) and (A. ) who, owing to the ambiguity of the text, have resorted to
the commentaries - appendices of which have been attached.
It has been concluded that the full translation of this Mucallaqa
is almost impossible because of the myriad phonological, semantic and
cultural problems. However, it has been argued that the development of
a more comprehensive semantic theory upon which an eclectic theory of
translation could depend, and a more profound and accurate investigation
of the essential theme of this Mucallaga would get rid of a lot of the
problems of research and translation.An edition of Diwan al-Ahkam al-kubra by `Isa b. Sahl (d. 486 A.H / 1144)al-Nuaimy, Rashid Hamidhttp://hdl.handle.net/10023/29222016-03-28T11:54:17Z1978-01-01T00:00:00ZThe title of this thesis is "An Edition of Diwan Al Ahkam
al-Kubra by `Isa b. Sahl Abi al-Asbag who died in the year 486 A. H.
1093. A. D. This work consists of two parts. The first part is the
Arabic text, and the second is the English introduction.
This thesis as a whole was intended to become three volumes but
only the original copy is now in three volumes and the photocopies
are in two volumes.
The first volume ended at page number 727 and the second started
with the subject of “Sura fima Tahalaf...” 11 page number 728 to the end
of the Arabic text.
The Arabic text contains the Arabic index of Diwan al-Ahkam
al-Kubra, a few loose pages found with this book, the whole material
of the master copy and all the additional pages found in copies R and
A.
The present Arabic text is the photocopy of a manuscript which
was procured from The National Library in Algeria. It was listed under
No. 1332, and it was used as a master copy of this thesis.
The other nine copies have been utilised as supplementary material
for the purpose of checking evidence, of comparing variants and for
verification, where difficulties occurred in reading some lines or
illegible words in the master copy.
The English part consists of six chapters.
The first chapter provides general information as an introduction
to this thesis in locating the master copy, and the other copies.
The second chapter provides an idea of A1-Awza’iy's doctrines
in Andalusia during Abu A1-Asbag’s time, and how these doctrines
appeared in Andalusia. Imam Malik's doctrines were discussed, and
so was the method of how it was introduced there before the 'Isa b.
Sahl's time.
General ideas about Imam Malik and Abu Hanifa, their life and opinions,
their schools in al-Madina and Iraq, and their different legal opinions
were examined in this chapter. Also included in the chapter, is the
influence of Malik's doctrines through his students, who introduced
the doctrines into Andalusia.
Also incorporated was the question of Egypt and her part in
advancing Malik's doctrines into Andalusia, with reference to what
was found in Abu al-Asbag's book, as a part of the establishment of
Malik's doctrines in Andalusia and North Africa.
The question of Al-Si`a’s doctrines in North Africa and Andalusia
as a different school from the Sunna which began to reveal itself
through the conflict between the other Sunna schools (Awza`iy, Maliki
and Hanafi) was analysed.
The third chapter concerned Legal organisation in Andalusia, the
Powers and the Obligations of jurists. We referred in this chapter to
Abu al-Asbag's words in his book and how-the legal procedures were
organized during his lifetime.
The duties and responsibilities of the judges in their different
capacities were mentioned and evaluated in this section of the chapter,
with reference to the legal cases of Abu al-Asbag's. There is a general
examination of the various kinds of legal offices pertaining to the
judges, such as Sahib al-Mawarit, Sahib al-Surta, and Sahib al-Madina.
Mention was also made of some judges who held legal positions such as
Sahib al-Bahar and Sahib al-Sika. Various forms of punishment were
looked at with respect to individual crime, as issuing from the
administration of legal authority.
The fourth chapter deals with the author of the MS, his name,
surname, place and date of birth, his teachers, qualifications for
the legal profession, his journeys, his students, his later years and
his death.
There was the attempt to elucidate the historical evidence concerning
the life and activity of the author, by employing both ancient
and modern references available in and outwith Great Britain.
The author's legal statements were quoted in order to give an idea
about his legal practices. At the end of this chapter the conclusion
was reached that Abu al-Asbag was a very well-known scholar, judge,
jurist and legal adviser to the ruler. A few paragraphs were quoted
showing the high esteem in which he was held.
The fifth chapter of the thesis is given over to an analysis and
a description of the Algerian copy (No. 1332) as a master copy. -
A description of the other copies (R, A, B, D, H, F, S, The
Royal Copy No. 2501, the missing copy No. 464D, and copy M) were given
in full detail, with the different title of each copy.
At the end of the chapter a key to the Arabic text is given.
The sixth chapter deals with the classification of the legal topics
covered in the author's book and their relationship to the Iraqi Laws,
with consideration of the necessary legal topics.
The thesis also deals with the author's legal opinions and his
colleagues. It examines the author's conception of Islamic Law and
Islamic Jurisprudence in Andalusia during the Muslim times. Also
contained are photocopies of the first and the last pages of all MSS
used in the work.
1978-01-01T00:00:00Zal-Nuaimy, Rashid HamidThe title of this thesis is "An Edition of Diwan Al Ahkam
al-Kubra by `Isa b. Sahl Abi al-Asbag who died in the year 486 A. H.
1093. A. D. This work consists of two parts. The first part is the
Arabic text, and the second is the English introduction.
This thesis as a whole was intended to become three volumes but
only the original copy is now in three volumes and the photocopies
are in two volumes.
The first volume ended at page number 727 and the second started
with the subject of “Sura fima Tahalaf...” 11 page number 728 to the end
of the Arabic text.
The Arabic text contains the Arabic index of Diwan al-Ahkam
al-Kubra, a few loose pages found with this book, the whole material
of the master copy and all the additional pages found in copies R and
A.
The present Arabic text is the photocopy of a manuscript which
was procured from The National Library in Algeria. It was listed under
No. 1332, and it was used as a master copy of this thesis.
The other nine copies have been utilised as supplementary material
for the purpose of checking evidence, of comparing variants and for
verification, where difficulties occurred in reading some lines or
illegible words in the master copy.
The English part consists of six chapters.
The first chapter provides general information as an introduction
to this thesis in locating the master copy, and the other copies.
The second chapter provides an idea of A1-Awza’iy's doctrines
in Andalusia during Abu A1-Asbag’s time, and how these doctrines
appeared in Andalusia. Imam Malik's doctrines were discussed, and
so was the method of how it was introduced there before the 'Isa b.
Sahl's time.
General ideas about Imam Malik and Abu Hanifa, their life and opinions,
their schools in al-Madina and Iraq, and their different legal opinions
were examined in this chapter. Also included in the chapter, is the
influence of Malik's doctrines through his students, who introduced
the doctrines into Andalusia.
Also incorporated was the question of Egypt and her part in
advancing Malik's doctrines into Andalusia, with reference to what
was found in Abu al-Asbag's book, as a part of the establishment of
Malik's doctrines in Andalusia and North Africa.
The question of Al-Si`a’s doctrines in North Africa and Andalusia
as a different school from the Sunna which began to reveal itself
through the conflict between the other Sunna schools (Awza`iy, Maliki
and Hanafi) was analysed.
The third chapter concerned Legal organisation in Andalusia, the
Powers and the Obligations of jurists. We referred in this chapter to
Abu al-Asbag's words in his book and how-the legal procedures were
organized during his lifetime.
The duties and responsibilities of the judges in their different
capacities were mentioned and evaluated in this section of the chapter,
with reference to the legal cases of Abu al-Asbag's. There is a general
examination of the various kinds of legal offices pertaining to the
judges, such as Sahib al-Mawarit, Sahib al-Surta, and Sahib al-Madina.
Mention was also made of some judges who held legal positions such as
Sahib al-Bahar and Sahib al-Sika. Various forms of punishment were
looked at with respect to individual crime, as issuing from the
administration of legal authority.
The fourth chapter deals with the author of the MS, his name,
surname, place and date of birth, his teachers, qualifications for
the legal profession, his journeys, his students, his later years and
his death.
There was the attempt to elucidate the historical evidence concerning
the life and activity of the author, by employing both ancient
and modern references available in and outwith Great Britain.
The author's legal statements were quoted in order to give an idea
about his legal practices. At the end of this chapter the conclusion
was reached that Abu al-Asbag was a very well-known scholar, judge,
jurist and legal adviser to the ruler. A few paragraphs were quoted
showing the high esteem in which he was held.
The fifth chapter of the thesis is given over to an analysis and
a description of the Algerian copy (No. 1332) as a master copy. -
A description of the other copies (R, A, B, D, H, F, S, The
Royal Copy No. 2501, the missing copy No. 464D, and copy M) were given
in full detail, with the different title of each copy.
At the end of the chapter a key to the Arabic text is given.
The sixth chapter deals with the classification of the legal topics
covered in the author's book and their relationship to the Iraqi Laws,
with consideration of the necessary legal topics.
The thesis also deals with the author's legal opinions and his
colleagues. It examines the author's conception of Islamic Law and
Islamic Jurisprudence in Andalusia during the Muslim times. Also
contained are photocopies of the first and the last pages of all MSS
used in the work.A critical edition of Kitab Raf' shan al-hubshan by Jalal al-din al-Suyutial-Khathlan, Saud H.http://hdl.handle.net/10023/29212016-03-28T11:06:16Z1983-01-01T00:00:00ZThe edition is based on nine manuscripts. The work deals with the
virtues of noble Abyssinians and is based on the earlier work by ibn al-Jawzi
which it partly extends.
The Arabic writings on the black races are reviewed from the beginnings
of the genre to works influenced by Suyuti. Attention is therefore
particularly given to Suyuti's predecessors and successors from the 2nd to
the 11th centuries with special reference to the relations between Suyuti's
work and that of ibn al-Jawzi.
The thesis is divided into two parts. The first part is the English
introduction which consists of four chapters with the conclusions placed after
Chapter Three.
The first chapter deals with the works relevant to al-sudan and the
Abyssinians. First, the two terms "al-Habashah" and "al-Sudan" are briefly
discussed in an attempt to define their usage. The second chapter, which is
a critical study of Kitab Raf Shan al-Hubshan, is divided into six sections,
in the last section of which it will be shown how this book was more popular
than ibn al-Jawzi's work' on which it was dependent. The third chapter
provides biographical detail of al-Suyuti's life with some comments on the
number of his works. The fourth chapter contains the description of the
manuscripts and editing principles. Finally, the bibliography is provided
at the end of this part.
The second part consists of the list of works cited in the footnotes
of the Arabic Text, the list of abbreviations used in these footnotes, the
conventional signs used in the Text, the Text, and the indexes.
1983-01-01T00:00:00Zal-Khathlan, Saud H.The edition is based on nine manuscripts. The work deals with the
virtues of noble Abyssinians and is based on the earlier work by ibn al-Jawzi
which it partly extends.
The Arabic writings on the black races are reviewed from the beginnings
of the genre to works influenced by Suyuti. Attention is therefore
particularly given to Suyuti's predecessors and successors from the 2nd to
the 11th centuries with special reference to the relations between Suyuti's
work and that of ibn al-Jawzi.
The thesis is divided into two parts. The first part is the English
introduction which consists of four chapters with the conclusions placed after
Chapter Three.
The first chapter deals with the works relevant to al-sudan and the
Abyssinians. First, the two terms "al-Habashah" and "al-Sudan" are briefly
discussed in an attempt to define their usage. The second chapter, which is
a critical study of Kitab Raf Shan al-Hubshan, is divided into six sections,
in the last section of which it will be shown how this book was more popular
than ibn al-Jawzi's work' on which it was dependent. The third chapter
provides biographical detail of al-Suyuti's life with some comments on the
number of his works. The fourth chapter contains the description of the
manuscripts and editing principles. Finally, the bibliography is provided
at the end of this part.
The second part consists of the list of works cited in the footnotes
of the Arabic Text, the list of abbreviations used in these footnotes, the
conventional signs used in the Text, the Text, and the indexes.Predictive-based syntagms in Kamali Arabic compared with similar patterns in EnglishHadj-Mohamed, Suliman A. K.http://hdl.handle.net/10023/29202016-03-28T11:05:23Z1980-01-01T00:00:00ZThe present work is mainly concerned with the syntactic
structures of the predicative-based syntagms in I4amali Arabic. The
constituents within these syntagms are further analysed until the relations
between pleremes (i. E. the minimal syntactic entities) are arrived
at. It also offers description of similar structures in English,
and brief comparisons between the structures of the two languages in
question.
Linguistic description has been defined as "the application
of a particular linguistic theory to a selected field of linguistic
phenomena". (Mulder 1975). The theory applied in this work, to both
English and Kamali Arabic, is Mulder$s axiomatic functionalist approach
to syntax.
This thesis falls into four parts. The first part is divided
into two chapters the first of which offers a brief introduction to the
basic principles of axiomatic functionalism, and to the relations between
linguistic theory, linguistic descriptions and the speech phenomena;
and the second provides explanations to the essential notions in syntax.
The second part, dealing with syntactic relations in Kamali
Arabic, comprises three chapters. Chapter I is concerned with the
verbal, and non-verbal, predicative-based syntagms, chapter II with
the functional syntagms, and chapter III with the nominal syntagms.
The third part, dealing with syntactic relations in English,
comprises four chapters. Chapter I deals with the verbal predicative-based
syntagms, chapter II With the copulative predicative, III with
functionals, and IV with nominals.
The fourth part, offering comparisons between English and
Kamali Arabic, is divided into three chapters. Chapter I offers
comparisons between the predicative-based syntagms, and between their
constituents. Chapter II between functionals, and III between nominals.
1980-01-01T00:00:00ZHadj-Mohamed, Suliman A. K.The present work is mainly concerned with the syntactic
structures of the predicative-based syntagms in I4amali Arabic. The
constituents within these syntagms are further analysed until the relations
between pleremes (i. E. the minimal syntactic entities) are arrived
at. It also offers description of similar structures in English,
and brief comparisons between the structures of the two languages in
question.
Linguistic description has been defined as "the application
of a particular linguistic theory to a selected field of linguistic
phenomena". (Mulder 1975). The theory applied in this work, to both
English and Kamali Arabic, is Mulder$s axiomatic functionalist approach
to syntax.
This thesis falls into four parts. The first part is divided
into two chapters the first of which offers a brief introduction to the
basic principles of axiomatic functionalism, and to the relations between
linguistic theory, linguistic descriptions and the speech phenomena;
and the second provides explanations to the essential notions in syntax.
The second part, dealing with syntactic relations in Kamali
Arabic, comprises three chapters. Chapter I is concerned with the
verbal, and non-verbal, predicative-based syntagms, chapter II with
the functional syntagms, and chapter III with the nominal syntagms.
The third part, dealing with syntactic relations in English,
comprises four chapters. Chapter I deals with the verbal predicative-based
syntagms, chapter II With the copulative predicative, III with
functionals, and IV with nominals.
The fourth part, offering comparisons between English and
Kamali Arabic, is divided into three chapters. Chapter I offers
comparisons between the predicative-based syntagms, and between their
constituents. Chapter II between functionals, and III between nominals.Aspects of the problems of translating metaphor, with special reference to modern Arabic poetryObeidat, Hisham T. B.http://hdl.handle.net/10023/29192016-03-28T11:06:19Z1997-01-01T00:00:00ZThis thesis examines a crucial area in the translation of poetic discourse, the
translatability of modern Arabic metaphor into English. Two main questions
are addressed. Firstly, what makes a particular metaphor easy to translate?
Secondly, what makes another metaphor difficult or even impossible to
translate?
The thesis consists of two parts, theory and data analysis. The first part,
theory, contains five chapters. In chapter 1 general theories of metaphor are
discussed; interaction, imagination and experientialist theory. In chapter 2
poetic metaphor is examined; its interpretation, its aesthetic values, the part
played by the imagination in processing metaphor, the importance of cultural
knowledge and the problems of translation. In chapter 3 the metonymymetaphor
relationship is assessed, and in chapter 4 the notion of dead
metaphor is examined. In chapter 5, light is shed on the use of poetic
metaphor in the Arab media and in particular on its use as an effective device
to persuade the audience to accept the current peace discourse in the Middle
East.
Part 2, data analysis, also consists of five chapters of which chapter 6 is the
introduction to the data analysis, and links the two parts of the thesis
together. Chapters 7 to 10 concern the translation of metaphor in particular
categories of poetry: in chapter 7 the emphasis is on autobiographical poetry
(Ghäzi al-Ghusaybi : "In the Grip of My Fifties" and "Making Me a
Grandfather"). In chapter 8 the focus is on the poetry of exile (Fadwä Tüqän:
"Ruqayya" and "The Call of the Land"). In chapter 9 nationalist poetry is
discusses (Fadwä Tüqan: "My Sad City" and "Hamza"), while in chapter 10
socio-political poetry is considered (Salah `Abd al-Sabür : "Sadness").
The findings of this research may be summarised as follows: the translation
of Arabic poetic metaphor into English requires most importantly the
recreation of a similar cultural experience in the TL. The data analysis shows
that, in certain cases, it is easy to restructure the ST metaphoric experience
with the same experience in the TL. On numerous occasions, however, the SL
metaphoric experience has to be rendered by a different metaphor exhibiting
a similar, or parallel, experience. Lastly, the data also demonstrate to the
reader how, in certain contexts, the ST metaphor is untranslatable, simply
because the host language cannot express satisfactorily the ST thought in the
same or a similar way.
1997-01-01T00:00:00ZObeidat, Hisham T. B.This thesis examines a crucial area in the translation of poetic discourse, the
translatability of modern Arabic metaphor into English. Two main questions
are addressed. Firstly, what makes a particular metaphor easy to translate?
Secondly, what makes another metaphor difficult or even impossible to
translate?
The thesis consists of two parts, theory and data analysis. The first part,
theory, contains five chapters. In chapter 1 general theories of metaphor are
discussed; interaction, imagination and experientialist theory. In chapter 2
poetic metaphor is examined; its interpretation, its aesthetic values, the part
played by the imagination in processing metaphor, the importance of cultural
knowledge and the problems of translation. In chapter 3 the metonymymetaphor
relationship is assessed, and in chapter 4 the notion of dead
metaphor is examined. In chapter 5, light is shed on the use of poetic
metaphor in the Arab media and in particular on its use as an effective device
to persuade the audience to accept the current peace discourse in the Middle
East.
Part 2, data analysis, also consists of five chapters of which chapter 6 is the
introduction to the data analysis, and links the two parts of the thesis
together. Chapters 7 to 10 concern the translation of metaphor in particular
categories of poetry: in chapter 7 the emphasis is on autobiographical poetry
(Ghäzi al-Ghusaybi : "In the Grip of My Fifties" and "Making Me a
Grandfather"). In chapter 8 the focus is on the poetry of exile (Fadwä Tüqän:
"Ruqayya" and "The Call of the Land"). In chapter 9 nationalist poetry is
discusses (Fadwä Tüqan: "My Sad City" and "Hamza"), while in chapter 10
socio-political poetry is considered (Salah `Abd al-Sabür : "Sadness").
The findings of this research may be summarised as follows: the translation
of Arabic poetic metaphor into English requires most importantly the
recreation of a similar cultural experience in the TL. The data analysis shows
that, in certain cases, it is easy to restructure the ST metaphoric experience
with the same experience in the TL. On numerous occasions, however, the SL
metaphoric experience has to be rendered by a different metaphor exhibiting
a similar, or parallel, experience. Lastly, the data also demonstrate to the
reader how, in certain contexts, the ST metaphor is untranslatable, simply
because the host language cannot express satisfactorily the ST thought in the
same or a similar way.A critical edition of Ru'us al-masa'il by al-Zamakhshari (d. 538 A.H. / 1144)Muhammad, Abdul Halim binhttp://hdl.handle.net/10023/29032016-03-28T11:11:16Z1977-01-01T00:00:00ZThis thesis consists of two parts. The first part deals with
an introduction which is divided into five chapters,
Chapter one provides, general information on the MS, the copyist
and the orthography. The date and purpose of composition of the
work is also discussed, and the critical apparatus explained.
Chapter two concerns the authorship and outlines briefly the
author's career. The discussion involves the author's name, family,
education, his teachers, his pupils and his other works. The date
of his death is also ascertained.
Chapter three deals with the place of the Ru'uss al-Masa’il
type in literature, and consists of a review of works of similar
title. Confirmation of the authorship of the present work, and
comparison of this work with other similar works results in
showing its significance and in illustrating the attitude of the
author on matters dealt with on Fiqh.
A historical survey of the development of Ikhtilaf literature
and the beginnings of the science of al-Khilafiyyat have been
discussed in chapter four.
Finally, chapter five deals with the classical theory of Usul
and its application in the Ikhtilaf literature which is followed
by a brief conclusion.
The second part presents the Text. This contains 407 rulings under
62 titles and sub-titles which deal with different subjects
ranging from ritual, family law and penal law to the rulings on
food and drink.
The separate notes have been provided in order to show the
development of the Shafi’ite doctrines. An appendix is also provided
aiming to illustrate the development of Zamakhshari's ideas
on Fiqh.
1977-01-01T00:00:00ZMuhammad, Abdul Halim binThis thesis consists of two parts. The first part deals with
an introduction which is divided into five chapters,
Chapter one provides, general information on the MS, the copyist
and the orthography. The date and purpose of composition of the
work is also discussed, and the critical apparatus explained.
Chapter two concerns the authorship and outlines briefly the
author's career. The discussion involves the author's name, family,
education, his teachers, his pupils and his other works. The date
of his death is also ascertained.
Chapter three deals with the place of the Ru'uss al-Masa’il
type in literature, and consists of a review of works of similar
title. Confirmation of the authorship of the present work, and
comparison of this work with other similar works results in
showing its significance and in illustrating the attitude of the
author on matters dealt with on Fiqh.
A historical survey of the development of Ikhtilaf literature
and the beginnings of the science of al-Khilafiyyat have been
discussed in chapter four.
Finally, chapter five deals with the classical theory of Usul
and its application in the Ikhtilaf literature which is followed
by a brief conclusion.
The second part presents the Text. This contains 407 rulings under
62 titles and sub-titles which deal with different subjects
ranging from ritual, family law and penal law to the rulings on
food and drink.
The separate notes have been provided in order to show the
development of the Shafi’ite doctrines. An appendix is also provided
aiming to illustrate the development of Zamakhshari's ideas
on Fiqh.An edition of 'Nasha'at al-Sulafah bi Munsha'at al-Khilafah' by 'Abd al-Qadir al-TabariUrainan, Hamad Mohammedhttp://hdl.handle.net/10023/29002016-03-28T11:04:30Z1972-01-01T00:00:00Z1972-01-01T00:00:00ZUrainan, Hamad MohammedThe semiotics of printed instructions (graphic signa)Toumajian, Trak-Sarkishttp://hdl.handle.net/10023/28992016-03-28T11:11:10Z1986-01-01T00:00:00ZThis thesis sets out to describe sign systems for communication
using Axiomatic Functionalism as its theoretical framework.
In doing so, the thesis also provides an important
test to the claim of Axiomatic Functionalism that by using
its premisses the semiotician (or linguist) has all the
necessary "tools" s/he needs for the analysis and description
(the one implies the other) of any semiotic system for
communication (including Language).
Using Axiomatic Functionalism the author attempts to
describe a number of graphic semiotic systems for communication.
He finds that for an adequate description of the
signa (a generic term which includes various types of signs
and symbols) in these systems further theoretical notions
and definitions are needed. Discussing these the author
concludes that for Axiomatic Functionalism to maintain its
claim of universal applicability to any sign system for communication
it needs to incorporate in its premisses the
notions and definitions proposed here.
The thesis begins by a brief general introduction to
semiotics. This is followed by a discussion of what constitutes
scientific theories in relation to semiotics (including
linguistics). The relevant aspects of Axiomatic
Functionalism are then discussed, after which certain
original theoretical notions are introduced. These include:
“mnemonic economy" (with its many manifestations including
"mnemonic/pictorial motivation"), the "general organising
principle" ("systemic principle"), "principle of coinage" (a
mechanism for generating signa), and "signum-family”.
Having established the necessary theoretical background, the
author proceeds to describe various graphic “signum-systems"
discussing their important features and establishing the
types of signum they consist of and, consequently, the types
of system they are, their complexity and the "plerology”
(grammar) of each system, where present. The systems discussed
include various systems used in books on plants; a
system used in a book on "lace knitting"; a system used in
working models; a system used in providing information about
paintings in the "Classics of World Art" series of books;
and a system used in the "Automobile Association" handbooks.
Further Axiomatic Functionalist theoretical notions,
directly relevant to the systems described thereafter, are
then introduced. This is followed by a description of three
systems: two computer "languages", the "Hexadecimal notation"
and the "binary code", and the "Library of Congress
classification system". A final brief "Epilogue" concludes
the thesis.
1986-01-01T00:00:00ZToumajian, Trak-SarkisThis thesis sets out to describe sign systems for communication
using Axiomatic Functionalism as its theoretical framework.
In doing so, the thesis also provides an important
test to the claim of Axiomatic Functionalism that by using
its premisses the semiotician (or linguist) has all the
necessary "tools" s/he needs for the analysis and description
(the one implies the other) of any semiotic system for
communication (including Language).
Using Axiomatic Functionalism the author attempts to
describe a number of graphic semiotic systems for communication.
He finds that for an adequate description of the
signa (a generic term which includes various types of signs
and symbols) in these systems further theoretical notions
and definitions are needed. Discussing these the author
concludes that for Axiomatic Functionalism to maintain its
claim of universal applicability to any sign system for communication
it needs to incorporate in its premisses the
notions and definitions proposed here.
The thesis begins by a brief general introduction to
semiotics. This is followed by a discussion of what constitutes
scientific theories in relation to semiotics (including
linguistics). The relevant aspects of Axiomatic
Functionalism are then discussed, after which certain
original theoretical notions are introduced. These include:
“mnemonic economy" (with its many manifestations including
"mnemonic/pictorial motivation"), the "general organising
principle" ("systemic principle"), "principle of coinage" (a
mechanism for generating signa), and "signum-family”.
Having established the necessary theoretical background, the
author proceeds to describe various graphic “signum-systems"
discussing their important features and establishing the
types of signum they consist of and, consequently, the types
of system they are, their complexity and the "plerology”
(grammar) of each system, where present. The systems discussed
include various systems used in books on plants; a
system used in a book on "lace knitting"; a system used in
working models; a system used in providing information about
paintings in the "Classics of World Art" series of books;
and a system used in the "Automobile Association" handbooks.
Further Axiomatic Functionalist theoretical notions,
directly relevant to the systems described thereafter, are
then introduced. This is followed by a description of three
systems: two computer "languages", the "Hexadecimal notation"
and the "binary code", and the "Library of Congress
classification system". A final brief "Epilogue" concludes
the thesis.Al-Maqalat al Jawhariyya `ala al-Maqamat al-HaririyyaIbrahim, Ismail bin Hajihttp://hdl.handle.net/10023/28962016-03-28T11:53:42Z1975-01-01T00:00:00ZThe Thesis presents a critical edition of the
first volume of Khayr al-Din ibn Taj al-Din Ilyas al-Madani’s al-Maqalat al-Jawhariyya `ala al-Maqamat al-Haririyya, accompanied by an introduction dealing
briefly with the Maqamat as a literary genre, the
commentaries on the Maqamat, the description of various
manuscripts of al-Maqalat and the authorship of the
work.
The text itself consists of, a preface, the
commentary on Hariri's preface, followed by the
commentary on the first twenty-five Maqamat of
unequal length. Volume two of al-Maqalat consists of
the commentary on the remaining twenty-five Maqamat.
This has been found too long to include in this work.
It is hoped, however, that it will be possible to
edit this volume separately in the future.
This work, al-Maqalat, was brought to my
notice by the book Makamat by Theodore Preston,*
Professor of Arabic at Cambridge University, who
in his preface mentions al-Maqalat and describes it
as "an excellent running commentary on the Makamat."
The two volumes of the work are contained in the
Burchardt collection of the Cambridge University
Library, and "it is a very lucid and valuable work
and well deserves to be edited. "
My first task in the attempt to edit
al-Maqalat, then, was a search, extending from
Cambridge to Cairo, Alexandria and Patna, for the
manuscripts of that and other books of commentary
on the Maqamat, most of which are still in
manuscript form.
* Published in London, 1850.
1975-01-01T00:00:00ZIbrahim, Ismail bin HajiThe Thesis presents a critical edition of the
first volume of Khayr al-Din ibn Taj al-Din Ilyas al-Madani’s al-Maqalat al-Jawhariyya `ala al-Maqamat al-Haririyya, accompanied by an introduction dealing
briefly with the Maqamat as a literary genre, the
commentaries on the Maqamat, the description of various
manuscripts of al-Maqalat and the authorship of the
work.
The text itself consists of, a preface, the
commentary on Hariri's preface, followed by the
commentary on the first twenty-five Maqamat of
unequal length. Volume two of al-Maqalat consists of
the commentary on the remaining twenty-five Maqamat.
This has been found too long to include in this work.
It is hoped, however, that it will be possible to
edit this volume separately in the future.
This work, al-Maqalat, was brought to my
notice by the book Makamat by Theodore Preston,*
Professor of Arabic at Cambridge University, who
in his preface mentions al-Maqalat and describes it
as "an excellent running commentary on the Makamat."
The two volumes of the work are contained in the
Burchardt collection of the Cambridge University
Library, and "it is a very lucid and valuable work
and well deserves to be edited. "
My first task in the attempt to edit
al-Maqalat, then, was a search, extending from
Cambridge to Cairo, Alexandria and Patna, for the
manuscripts of that and other books of commentary
on the Maqamat, most of which are still in
manuscript form.
* Published in London, 1850.Jamharat Ash`ar Al-Arab : a critical edition of the text with an examination of the literary and historical aspectsZaini, Mahmud Hasanhttp://hdl.handle.net/10023/28892016-03-28T11:11:36Z1969-01-01T00:00:00Z1969-01-01T00:00:00ZZaini, Mahmud HasanA critical edition of 'Al-ta'rīkh al-islāmī al-mukhtasar' by Shihāb al-Dīn Abū Ishāq Ibrāhīm ibn 'Abdullāh ibn Alī ibn Abī al-Dam al-Hamawī (583/1187-642/1244)Al-Jomard, Jazeel Abdul Jabbarhttp://hdl.handle.net/10023/28852016-03-28T11:04:26Z1984-01-01T00:00:00ZThis thesis presents a critical edition of a medieval Arabic
text, which is widely known under the insufficiently attested title
"al-Ta'rikh al-Muzaffari'.. It is ascribed to a celebrated historian
and scholar of the first half of the 7th/13th century, Shihab al-Din abu
Ishaq Ibrahim b. abi al-Dam al-Hamawi al-Shafi'i (583/1187-642/1244),
40
a native and Qadi (judge) of Hamah.
The thesis consists of two parts, the introductory study and then
the text. The introductory study facilitates the understanding of the
problems the text raises and clarifies the more important issues
surrounding it.
The first chapter is intended to serve as a historical background.
A brief account, therefore, of the Ayyubid empire, together with a brief
history of Hamah, Ibn abi al-Dam's native town, is presented to shed light on the author's time.
The second chapter of the introduction is devoted to examining the
author's life. The sources concerning this part of the study are few.
Some of the author's own works are still missing, others are at present
inaccessible. From the obtainable works either printed or in MSS, a
reconstruction of the author's life and times has been made.
Sections I and 2 of the third and final chapter of the introductory
study discuss the reliability of the ascription of the work to Ibn abTal-Dam
and the controversial question of whether the title is original, and if it is
not, what other title it could have had. The rest of this chapter has
been devoted to Investigating and examining the MSS. in which the text
has been preserved and transcribed ever since the original was composed.
In the absence of the original, I have chosen the oldest and in
my opinion, the most complete of the only five surviving copies so far
identified and located. This copy, which is referred to in this thesis by
the abbreviation Bo, was written in (695/1295) by a native of Hamah, 53
years after the death of the author. All the other four are almost
definitely of a more recent date.
The second part of this thesis is the text, edited on the basis of
the oldest MS. which is preserved in the Bodleian Library at Oxford. The
text has been transcribed retaining the conventions, orthographic and
grammatical of the copyist wherever possible. Additions and
modifications have been avoided unless in their absence the sense of the
passage is obscured to the point of incomprehensibility. In these cases
other copies, A. of Alexandria Municipal Library, E. of Edinburgh University
Library, and Rand P2. of Bankipore Public Library were consulted and all
differenced between these MSS. , however minor, are shown and detailed
in the footnotes.
The text, then is supplemented by indices of towns, places,
tribes, sects and nations, which are followed by a bibliography and maps.
1984-01-01T00:00:00ZAl-Jomard, Jazeel Abdul JabbarThis thesis presents a critical edition of a medieval Arabic
text, which is widely known under the insufficiently attested title
"al-Ta'rikh al-Muzaffari'.. It is ascribed to a celebrated historian
and scholar of the first half of the 7th/13th century, Shihab al-Din abu
Ishaq Ibrahim b. abi al-Dam al-Hamawi al-Shafi'i (583/1187-642/1244),
40
a native and Qadi (judge) of Hamah.
The thesis consists of two parts, the introductory study and then
the text. The introductory study facilitates the understanding of the
problems the text raises and clarifies the more important issues
surrounding it.
The first chapter is intended to serve as a historical background.
A brief account, therefore, of the Ayyubid empire, together with a brief
history of Hamah, Ibn abi al-Dam's native town, is presented to shed light on the author's time.
The second chapter of the introduction is devoted to examining the
author's life. The sources concerning this part of the study are few.
Some of the author's own works are still missing, others are at present
inaccessible. From the obtainable works either printed or in MSS, a
reconstruction of the author's life and times has been made.
Sections I and 2 of the third and final chapter of the introductory
study discuss the reliability of the ascription of the work to Ibn abTal-Dam
and the controversial question of whether the title is original, and if it is
not, what other title it could have had. The rest of this chapter has
been devoted to Investigating and examining the MSS. in which the text
has been preserved and transcribed ever since the original was composed.
In the absence of the original, I have chosen the oldest and in
my opinion, the most complete of the only five surviving copies so far
identified and located. This copy, which is referred to in this thesis by
the abbreviation Bo, was written in (695/1295) by a native of Hamah, 53
years after the death of the author. All the other four are almost
definitely of a more recent date.
The second part of this thesis is the text, edited on the basis of
the oldest MS. which is preserved in the Bodleian Library at Oxford. The
text has been transcribed retaining the conventions, orthographic and
grammatical of the copyist wherever possible. Additions and
modifications have been avoided unless in their absence the sense of the
passage is obscured to the point of incomprehensibility. In these cases
other copies, A. of Alexandria Municipal Library, E. of Edinburgh University
Library, and Rand P2. of Bankipore Public Library were consulted and all
differenced between these MSS. , however minor, are shown and detailed
in the footnotes.
The text, then is supplemented by indices of towns, places,
tribes, sects and nations, which are followed by a bibliography and maps.Parasyntax and the sentential level in axiomatic functionalismGardner, Sheena F.http://hdl.handle.net/10023/28772016-03-28T11:11:06Z1985-01-01T00:00:00ZThis thesis is presented as a contribution to the St Andrews School
of Linguistics, Axiomatic Functionalism, as developed by Mulder and
Hervey. It is essentially a piece of Theoretical Linguistics which
outlines an approach to the hitherto undeveloped areas of Parasyntax
and the Sentential Level in Axiomatic Functionalism.
The theoretical arguments are supported by descriptive hypotheses
concerning the nature of Spoken English. These descriptions are
corpus-based.
The conclusion reached by the author is that not only are Parasyntax
and the Sentential Level distinct in theory (this is axiomatic), but
they are also distinct in their application as regards methodology
and description. This conclusion will undoubtedly prove to be
controversial in the light of recent developments in Axiomatic
Functionalism concerning the Postulates in particular (of which the
author was at the time of writing unaware), and in the light of
other Functionalist approaches to the nature of intonation and
sentences.
It is anticipated that this thesis will be of value to those
interested in Functionalism as well as those concerned with
intonation and the levels of language beyond syntax.
1985-01-01T00:00:00ZGardner, Sheena F.This thesis is presented as a contribution to the St Andrews School
of Linguistics, Axiomatic Functionalism, as developed by Mulder and
Hervey. It is essentially a piece of Theoretical Linguistics which
outlines an approach to the hitherto undeveloped areas of Parasyntax
and the Sentential Level in Axiomatic Functionalism.
The theoretical arguments are supported by descriptive hypotheses
concerning the nature of Spoken English. These descriptions are
corpus-based.
The conclusion reached by the author is that not only are Parasyntax
and the Sentential Level distinct in theory (this is axiomatic), but
they are also distinct in their application as regards methodology
and description. This conclusion will undoubtedly prove to be
controversial in the light of recent developments in Axiomatic
Functionalism concerning the Postulates in particular (of which the
author was at the time of writing unaware), and in the light of
other Functionalist approaches to the nature of intonation and
sentences.
It is anticipated that this thesis will be of value to those
interested in Functionalism as well as those concerned with
intonation and the levels of language beyond syntax.Studies in two transmissions of the Qur'anBrockett, Adrian Alanhttp://hdl.handle.net/10023/27702016-03-28T11:46:09Z1985-01-01T00:00:00ZTwo transmissions of the Qur'an can be found in printed copies
today. One stems from Kufa and the other from Medina. They are
more commonly called by the names of their respective second-century
transmitters, Hafs and 'Wars.
This thesis examines the relationship between these two transmissions,
as exemplified in the first five suras.
The Hafs transmission is found in printed Qur'an copies from all but
West and North-West Africa, which employ the War transmission. The
Hafs transmission is therefore the transmission found in the vast majority
of printed copies of the Qur'an, and printed copies of the 'Wars transmission
are rare in comparison.
There is no doubt that copies according to other transmissions have
existed as well, but none has apparently been printed. The Basrans al—Xalil
and Sibawayhi, for instance, had texts that differed in places from both the
Hafs and 'Wars transmissions. And the existence of manuscripts according
to the Basran reading-system of abu 'Amr by way of al—Duri has been
testified in the Sudan this century.
The Qur'an according to this last transmission has in fact been printed
at the head and side of the pages of editions of al—Zamaxari's commentary
a1—Kaf, but these are not considered by Muslims as Qur'an copies
proper. They are type-set and have occasional misprints, and at times
do not tally with data on the reading-system of abu 'Amr given in works
on Qur'an readings.
Qur'an copies according to transmissions such as these or others might
therefore still exist in manuscript, but would not readily be consultable.
So it would be of use to document differences between those transmissions
that actually are available in print.
On a general level, this provides a step towards a critical apparatus
of the Qur'an, and on a more specific one, it provides the data for this
thesis.
1985-01-01T00:00:00ZBrockett, Adrian AlanTwo transmissions of the Qur'an can be found in printed copies
today. One stems from Kufa and the other from Medina. They are
more commonly called by the names of their respective second-century
transmitters, Hafs and 'Wars.
This thesis examines the relationship between these two transmissions,
as exemplified in the first five suras.
The Hafs transmission is found in printed Qur'an copies from all but
West and North-West Africa, which employ the War transmission. The
Hafs transmission is therefore the transmission found in the vast majority
of printed copies of the Qur'an, and printed copies of the 'Wars transmission
are rare in comparison.
There is no doubt that copies according to other transmissions have
existed as well, but none has apparently been printed. The Basrans al—Xalil
and Sibawayhi, for instance, had texts that differed in places from both the
Hafs and 'Wars transmissions. And the existence of manuscripts according
to the Basran reading-system of abu 'Amr by way of al—Duri has been
testified in the Sudan this century.
The Qur'an according to this last transmission has in fact been printed
at the head and side of the pages of editions of al—Zamaxari's commentary
a1—Kaf, but these are not considered by Muslims as Qur'an copies
proper. They are type-set and have occasional misprints, and at times
do not tally with data on the reading-system of abu 'Amr given in works
on Qur'an readings.
Qur'an copies according to transmissions such as these or others might
therefore still exist in manuscript, but would not readily be consultable.
So it would be of use to document differences between those transmissions
that actually are available in print.
On a general level, this provides a step towards a critical apparatus
of the Qur'an, and on a more specific one, it provides the data for this
thesis.A critical edition of `Akhbar Siffin'Helabi, Abdul-Aziz Salehhttp://hdl.handle.net/10023/27262016-03-28T11:46:27Z1974-01-01T00:00:00ZWhen I decided to produce an edition of Akhbar Siffin I discovered
four manuscripts dealing with the historical accounts of the Battle of
Siffin. The examination of these four manuscripts showed that they are
not the same work; two of them are different copies of Akhbar Siffin. They
are Ambrosiana H 129 and Borlin Q. U. 2040. The other two are different
copies of the work of Abu Muhammad, Ahmad b. A`tham al-Kufi entitled
Waq`at Siffin. They are Ankara, 'Saib 5418 and Mingana Collection,
Islam, Arab 572.
The next action was to compare the material of Akhbar Siffin with
the material of Ibn A`tham's Waq`at Siffin. I concluded that Akhbar
Siffin had more original material than Ibn A`tham's Waq`at Siffin and
accordingly I decided to edit it.
A study of the Ambrosiana Manuscript and the Berlin Manuscript of
Akhbar Siffin indicated that the edition would best be based upon the
Ambrosiana Manuscript because it has the fuller text and fewer mistakes
and gaps than the Berlin Manuscript.
The name of the author of Akhbar Siffin does not appear in either
of the two manuscripts, and there is no assistance from any other source
which may help in identifying him.
The introduction of this edition consists of two parts; a bibliographical
survey of the, works on the Battle of Siffin and analytical description
of the material and the manusoripts of Akhbar Siffin.
1974-01-01T00:00:00ZHelabi, Abdul-Aziz SalehWhen I decided to produce an edition of Akhbar Siffin I discovered
four manuscripts dealing with the historical accounts of the Battle of
Siffin. The examination of these four manuscripts showed that they are
not the same work; two of them are different copies of Akhbar Siffin. They
are Ambrosiana H 129 and Borlin Q. U. 2040. The other two are different
copies of the work of Abu Muhammad, Ahmad b. A`tham al-Kufi entitled
Waq`at Siffin. They are Ankara, 'Saib 5418 and Mingana Collection,
Islam, Arab 572.
The next action was to compare the material of Akhbar Siffin with
the material of Ibn A`tham's Waq`at Siffin. I concluded that Akhbar
Siffin had more original material than Ibn A`tham's Waq`at Siffin and
accordingly I decided to edit it.
A study of the Ambrosiana Manuscript and the Berlin Manuscript of
Akhbar Siffin indicated that the edition would best be based upon the
Ambrosiana Manuscript because it has the fuller text and fewer mistakes
and gaps than the Berlin Manuscript.
The name of the author of Akhbar Siffin does not appear in either
of the two manuscripts, and there is no assistance from any other source
which may help in identifying him.
The introduction of this edition consists of two parts; a bibliographical
survey of the, works on the Battle of Siffin and analytical description
of the material and the manusoripts of Akhbar Siffin.Arabic versions of the Psalter in use in Muslim SpainAlder, Catherinehttp://hdl.handle.net/10023/27172016-03-28T10:59:41Z1953-01-01T00:00:00Z1953-01-01T00:00:00ZAlder, CatherineAspects of a functional description of English morphologyMunla, Muhammad Salimhttp://hdl.handle.net/10023/27162016-03-28T11:47:00Z1981-01-01T00:00:00Z1981-01-01T00:00:00ZMunla, Muhammad SalimShāfiʻī and the interpretation of the role of the Qurʾān and the ḤadīthAbdul Hamid bin Othman, Haji, 1939-http://hdl.handle.net/10023/27132016-03-28T11:19:36Z1976-01-01T00:00:00ZThis thesis deals with Shafi’i's theories on the
role in usul al-fiqh of the Qur’an and the hadith.
By detailed reference to Shifi’i’s writings, it becomes
clear that his chief concern was with the role of the sunna of
the Prophet, Islamic scholars in previous generations had referred
to a number of sources in defence of regional attitudes. Their
failure to produce a theory of sources enabled Shaf’i to charge
them with inconsistency. Certain scholars of his own generation
were apparently alleging the sufficiency of the Qur’an source.
Inter-school squabbles involving the first group of scholars represented
in Shafi’i’s view as great a threat to the overriding
importance which the party known as ahl al-hadith desired to secure
for the hadith of the Prophet as did the more direct assault of
the second group's insistence upon the primary significance of
the Qur’an source. An attempt is made to show that Shaf’i’s
source theories were constructed in response to the arguments of
both groups and were directed to the creation of a unifying principle
which would solve the problem of ikhtilaf al-muslimin while
simultaneously guaranteeing minimum disruption for the fiqh conclusions
which Shafi’i’ had espoused. Since he proposed to document
these conclusions on the basis of the sunna, Shafi’i’s
theories were designed to place the sunna beyond further scholarly
attack.
The study consists of nine chapters. Chapter one examines
Shafi’ i's intellectual life, his acquaintance with scholars
from different regions and of different schools. Chapter two
deals with the materials employed by his predecessors to document
their legal doctrines, and Shafi’i’s handling of these materials
in his efforts to systematize the sunni fiqh. Chapters three,
four and five deal with his endeavour to establish the overriding
importance for the sunni fiqh, of the sunna embodied in the hadith
of the Prophet. Chapter nine discusses his views on the isnad.
Chapters six and seven examine his endeavour to establish a necessary
connection between the Qur’an and the sunna, and the resultant
subjection of the qur’an to the sunna by means of the Shafi’i
theory of bayan and exclusion (takhsis). Chapter eight deals with
his views on qiyas, the only form of legal reasoning of which he
approved, and the resultant curtailing of independent legal reasoning
and, thereby, of the development of the fiqh.
1976-01-01T00:00:00ZAbdul Hamid bin Othman, Haji, 1939-This thesis deals with Shafi’i's theories on the
role in usul al-fiqh of the Qur’an and the hadith.
By detailed reference to Shifi’i’s writings, it becomes
clear that his chief concern was with the role of the sunna of
the Prophet, Islamic scholars in previous generations had referred
to a number of sources in defence of regional attitudes. Their
failure to produce a theory of sources enabled Shaf’i to charge
them with inconsistency. Certain scholars of his own generation
were apparently alleging the sufficiency of the Qur’an source.
Inter-school squabbles involving the first group of scholars represented
in Shafi’i’s view as great a threat to the overriding
importance which the party known as ahl al-hadith desired to secure
for the hadith of the Prophet as did the more direct assault of
the second group's insistence upon the primary significance of
the Qur’an source. An attempt is made to show that Shaf’i’s
source theories were constructed in response to the arguments of
both groups and were directed to the creation of a unifying principle
which would solve the problem of ikhtilaf al-muslimin while
simultaneously guaranteeing minimum disruption for the fiqh conclusions
which Shafi’i’ had espoused. Since he proposed to document
these conclusions on the basis of the sunna, Shafi’i’s
theories were designed to place the sunna beyond further scholarly
attack.
The study consists of nine chapters. Chapter one examines
Shafi’ i's intellectual life, his acquaintance with scholars
from different regions and of different schools. Chapter two
deals with the materials employed by his predecessors to document
their legal doctrines, and Shafi’i’s handling of these materials
in his efforts to systematize the sunni fiqh. Chapters three,
four and five deal with his endeavour to establish the overriding
importance for the sunni fiqh, of the sunna embodied in the hadith
of the Prophet. Chapter nine discusses his views on the isnad.
Chapters six and seven examine his endeavour to establish a necessary
connection between the Qur’an and the sunna, and the resultant
subjection of the qur’an to the sunna by means of the Shafi’i
theory of bayan and exclusion (takhsis). Chapter eight deals with
his views on qiyas, the only form of legal reasoning of which he
approved, and the resultant curtailing of independent legal reasoning
and, thereby, of the development of the fiqh.The influence of English grammar, syntax, idiom and style upon contemporary literary ArabicAziz, Yowell Yosefhttp://hdl.handle.net/10023/26772016-03-28T11:47:02Z1967-01-01T00:00:00Z1967-01-01T00:00:00ZAziz, Yowell Yosef'Tawdīh makāsid al-alfiyya' by Hasan b. Kāsim al-Murādī (749/1348) : a critical editionAl-Tikriti, Tālīb A.R.http://hdl.handle.net/10023/26692016-03-28T11:44:05Z1984-01-01T00:00:00Z1984-01-01T00:00:00ZAl-Tikriti, Tālīb A.R.Jews in Yemen in 17th-19th century according to Hebrew sources with comparison with Arabi Yamani sourcesAbd El Aal, Nour Hoda Hasanhttp://hdl.handle.net/10023/26682016-03-28T11:41:58Z1970-01-01T00:00:00Z1970-01-01T00:00:00ZAbd El Aal, Nour Hoda HasanA study of the Sybil Chant and its dramatic performance in the Spanish Church (ninth to sixteenth centuries)O'Connor, Niobehttp://hdl.handle.net/10023/26552016-03-28T11:41:47Z1984-01-01T00:00:00ZThis study encompasses the development of the Sibyl Chant in
Spain from its early beginnings within the liturgy as a musical piece,
through its growth into a dramatic ceremony associated with the Play of
the Prophets, its move from Latin into the vernacular and details of its
performance, to its formal abolition in the sixteenth century.
The Latin Sibylline poem, Judicii siqnum, which first appears in
St. Augustine's City of God and the sermon Contra Judaeos, Paganos; et
Arianos, prophesies the events on Judgement Day. Its entry into the
liturgy in Spain is examined in the first chapter which, drawing on
hitherto undiscovered examples of the chant from the ninth century to the
fifteenth, concludes that, although the text of the chant my have been
known within the Hispanic rite, its music is a product of French
ecclesiastical influence. With its establishment within the liturgy and
subsequent dissemination across the Peninsula by the house of Cluny, it
was sung in almost every cathedral city until the sixteenth century as
part of the sixth or ninth lesson of Christmas Matins. The second chapter
traces its development into a dramatic ceremony in the fifteenth century.
A study of known texts from Catalonia, and hitherto unknown examples of
the sermon with rubrics indicating dramatic activity from an early date
in Castile, concludes that the Sibyl ceremony was a product of the Ordo
Prophetarum. From the thirteenth century, the Latin of the chant was
often superceded by the vernacular. A comparison, in the third chapter,
of Catalan and Castilian versions reveals that they owe little to the
Judicii siqnum, and Provengal examples which have been considered their
Source, and a Catalan troubadour influence is argued. The final chapter
explores the practice of the Sibyl ceremony, with details of its
performance: its liturgical position, costume, staging, attendant
practices and final prohibition.
1984-01-01T00:00:00ZO'Connor, NiobeThis study encompasses the development of the Sibyl Chant in
Spain from its early beginnings within the liturgy as a musical piece,
through its growth into a dramatic ceremony associated with the Play of
the Prophets, its move from Latin into the vernacular and details of its
performance, to its formal abolition in the sixteenth century.
The Latin Sibylline poem, Judicii siqnum, which first appears in
St. Augustine's City of God and the sermon Contra Judaeos, Paganos; et
Arianos, prophesies the events on Judgement Day. Its entry into the
liturgy in Spain is examined in the first chapter which, drawing on
hitherto undiscovered examples of the chant from the ninth century to the
fifteenth, concludes that, although the text of the chant my have been
known within the Hispanic rite, its music is a product of French
ecclesiastical influence. With its establishment within the liturgy and
subsequent dissemination across the Peninsula by the house of Cluny, it
was sung in almost every cathedral city until the sixteenth century as
part of the sixth or ninth lesson of Christmas Matins. The second chapter
traces its development into a dramatic ceremony in the fifteenth century.
A study of known texts from Catalonia, and hitherto unknown examples of
the sermon with rubrics indicating dramatic activity from an early date
in Castile, concludes that the Sibyl ceremony was a product of the Ordo
Prophetarum. From the thirteenth century, the Latin of the chant was
often superceded by the vernacular. A comparison, in the third chapter,
of Catalan and Castilian versions reveals that they owe little to the
Judicii siqnum, and Provengal examples which have been considered their
Source, and a Catalan troubadour influence is argued. The final chapter
explores the practice of the Sibyl ceremony, with details of its
performance: its liturgical position, costume, staging, attendant
practices and final prohibition.The reception of Friedrich Hebbel in Germany in the era of National SocialismNiven, William Johnhttp://hdl.handle.net/10023/26522016-03-28T11:11:19Z1984-01-01T00:00:00ZThe following thesis examines the impact on the interpretation of Hebbel's
personality and works of National Socialist ideology and propaganda. It
comprises six chapters. The first five of these explore different areas
of ideological influence and provide evidence of the nature and extent of
this influence. The sixth chapter looks at the reception of Hebbel in the
National Socialist theatres and at the growth and development of the
Hebbel-Society between 1933 and 1945. The aim of the thesis is primarily
to break down the National Socialist view of Hebbel into its constituent
parts and to categorise these. An acquaintance with Hebbel's works and
beliefs reveals that the National Socialist view of him is largely
inaccurate and distortive. The thesis has to explain why the National
Socialists developed a false view of Hebbel. And it has to point as
frequently as necessary to the differences between Hebbel as he was in
reality and Hebbel as the National Socialists saw him. The thesis does
not present National Socialist interpretations as having totally
revolutionised Hebbel-reception. In two chapters in particular, the
second and the third, it will show how interpretations which were to
become characteristic of National Socialist Hebbel-reception were being
propagated long before 1933. Nevertheless the National Socialists
standardised the picture of Hebbel as a Nordic dramatist who was
committed to heroic ideals, anti-Semitic, politically conservative and
anti-liberal. The ideal aim of the thesis is to "purify" Hebbel's
character, works and beliefs of their association with National
Socialist values. At the same time it will be shown how easily and at
times almost imperceptibly a writer's views can be altered to make them
consistent with those of the interpreter.
1984-01-01T00:00:00ZNiven, William JohnThe following thesis examines the impact on the interpretation of Hebbel's
personality and works of National Socialist ideology and propaganda. It
comprises six chapters. The first five of these explore different areas
of ideological influence and provide evidence of the nature and extent of
this influence. The sixth chapter looks at the reception of Hebbel in the
National Socialist theatres and at the growth and development of the
Hebbel-Society between 1933 and 1945. The aim of the thesis is primarily
to break down the National Socialist view of Hebbel into its constituent
parts and to categorise these. An acquaintance with Hebbel's works and
beliefs reveals that the National Socialist view of him is largely
inaccurate and distortive. The thesis has to explain why the National
Socialists developed a false view of Hebbel. And it has to point as
frequently as necessary to the differences between Hebbel as he was in
reality and Hebbel as the National Socialists saw him. The thesis does
not present National Socialist interpretations as having totally
revolutionised Hebbel-reception. In two chapters in particular, the
second and the third, it will show how interpretations which were to
become characteristic of National Socialist Hebbel-reception were being
propagated long before 1933. Nevertheless the National Socialists
standardised the picture of Hebbel as a Nordic dramatist who was
committed to heroic ideals, anti-Semitic, politically conservative and
anti-liberal. The ideal aim of the thesis is to "purify" Hebbel's
character, works and beliefs of their association with National
Socialist values. At the same time it will be shown how easily and at
times almost imperceptibly a writer's views can be altered to make them
consistent with those of the interpreter.An axiomatic functionalist analysis of the phonology of YuluGabjanda, James Dahabhttp://hdl.handle.net/10023/26422016-03-28T11:41:21Z1976-01-01T00:00:00ZThis thesis is concerned with the description of Yulu, a language
which has not previously been subjected to modern linguistic analysis.
Thus this thesis has two important aspects. Firstly, however remote a
Language, its description adds a valuable contribution to linguistic
knowledge. Secondly, its description tests the validity of linguistic
theories in general and the theory used in this work in particular; as
a linguist should not only be able to describe one universal but any
number of parallel universes of speech-phenomena, namely different
languages or dialects or even idiolects. Since the theory has been instrumental
in describing the phonological system of Yulu in a consistent
and adequate manner, it has once again proved its usefulness as a 'general' linguistic
theory. The theory applied is that of Professor J. W. F. Mulder and is a sub-component of his 'Axiomatic Functionalist Linguistics'.
This thesis is divided into three parts. Part I, dealing with the
theoretical background, comprises twelve chapters, of which the first
four provide an introduction to the basic principles of axiomatic
functionalism. The remaining eight chapters introduce the theoretical
notions of phonological theory and analysis as practised by axiomatic
functionalists. Chapter I deals with the axiomatic functionalist principle
of maintaining a strict distinction between the linguistic theory,
linguistic descriptions, and the speech-phenomena and also with the basic
criteria for evaluating both the linguistic theory and linguistic
descriptions. Chapter II, dealing with the 'hypothetico-deductive Method',
explains the philosophical principles underlying the axiomatic functionalist
approach, Chapter III deals with 'The origin and scope of the theory'.
Chapter IV explains the definition of 'language' as "a semiotic system
with a 'double articulation'" (Mulder 1968). Chapter V covers 'The domain
of phonology'; Chapter VI 'The notion "phoneme" as defined in axiomatic
functionalism'; Chapter VIII 'The "abstract" approach to phonology';
Chapter VIII is concerned with 'Identity and distinctive function of
a phoneme'; Chapter IX with 'Phonematics'; Chapter X with 'Neutralization'
and 'archiphoneme'; Chapter XI with 'phonemes and their realizations
(allophony)'; and Chapter XII with 'Phonotactics’.
Part II, consists of one basic chapter, and is intended to give
general background information about Yulu - the language whose phonological
analysis we are concerned with in this thesis.
Part III, dealing with the actual phonological analysis consists of
five chapters. Chapter I deals with 'The phonemes of Yulu and their
realizations'; Chapter II 'Neutralization' and 'Concord'; Chapter III
'Classificatory calculus in Yulu'; Chapter IV 'Phonotactic distribution
in Yulu'; and Chapter V 'The tones of Yulu'.
1976-01-01T00:00:00ZGabjanda, James DahabThis thesis is concerned with the description of Yulu, a language
which has not previously been subjected to modern linguistic analysis.
Thus this thesis has two important aspects. Firstly, however remote a
Language, its description adds a valuable contribution to linguistic
knowledge. Secondly, its description tests the validity of linguistic
theories in general and the theory used in this work in particular; as
a linguist should not only be able to describe one universal but any
number of parallel universes of speech-phenomena, namely different
languages or dialects or even idiolects. Since the theory has been instrumental
in describing the phonological system of Yulu in a consistent
and adequate manner, it has once again proved its usefulness as a 'general' linguistic
theory. The theory applied is that of Professor J. W. F. Mulder and is a sub-component of his 'Axiomatic Functionalist Linguistics'.
This thesis is divided into three parts. Part I, dealing with the
theoretical background, comprises twelve chapters, of which the first
four provide an introduction to the basic principles of axiomatic
functionalism. The remaining eight chapters introduce the theoretical
notions of phonological theory and analysis as practised by axiomatic
functionalists. Chapter I deals with the axiomatic functionalist principle
of maintaining a strict distinction between the linguistic theory,
linguistic descriptions, and the speech-phenomena and also with the basic
criteria for evaluating both the linguistic theory and linguistic
descriptions. Chapter II, dealing with the 'hypothetico-deductive Method',
explains the philosophical principles underlying the axiomatic functionalist
approach, Chapter III deals with 'The origin and scope of the theory'.
Chapter IV explains the definition of 'language' as "a semiotic system
with a 'double articulation'" (Mulder 1968). Chapter V covers 'The domain
of phonology'; Chapter VI 'The notion "phoneme" as defined in axiomatic
functionalism'; Chapter VIII 'The "abstract" approach to phonology';
Chapter VIII is concerned with 'Identity and distinctive function of
a phoneme'; Chapter IX with 'Phonematics'; Chapter X with 'Neutralization'
and 'archiphoneme'; Chapter XI with 'phonemes and their realizations
(allophony)'; and Chapter XII with 'Phonotactics’.
Part II, consists of one basic chapter, and is intended to give
general background information about Yulu - the language whose phonological
analysis we are concerned with in this thesis.
Part III, dealing with the actual phonological analysis consists of
five chapters. Chapter I deals with 'The phonemes of Yulu and their
realizations'; Chapter II 'Neutralization' and 'Concord'; Chapter III
'Classificatory calculus in Yulu'; Chapter IV 'Phonotactic distribution
in Yulu'; and Chapter V 'The tones of Yulu'.A critical edition of 'Kitab al Fasr' : Ibn Ginni's commentary on the 'Diwan' of al-Mutanabbi (rhymes D-L)Ahmad, Muhammad Mahdihttp://hdl.handle.net/10023/26392016-03-28T11:41:04Z1984-01-01T00:00:00Z1984-01-01T00:00:00ZAhmad, Muhammad MahdiLinguistic meta-theory the formal and empirical conditions of acceptability of linguistic theories and descriptionsRastall, P. R.http://hdl.handle.net/10023/26372016-03-28T11:41:51Z1984-01-01T00:00:00ZMost linguists acknowledge, explicitly or implicitly,
the relevance of epistemological questions in
linguistics but relatively few have given more than a
cursory, ad hoc or incomplete consideration to them.
The work of one of those few, Jan Mulder, forms the
starting point for much of the present discussion.
Epistemological considerations arise in many contexts
in linguistics and in many guises. It is an epistemological
matter whenever we test the adequacy of a
description or the acceptability of a theory. Epistemological
considerations are latent whenever we discuss
the form or the content of linguistic theories
and descriptions or their interrelations. The comparison
of different approaches to linguistics inevitably
raises epistemological questions concerning our
approach to linguistics or our presuppositions about it.
These questions are of a general nature and transcend
questions about particular linguistic theories and descriptions.
These epistemological questions force us to
consider what we take linguistics to be. In considering
questions of the type mentioned we are forced, for
example, to analyse what we mean by a "linguistic
theory", a "linguistic description" and what phenomena
we are aiming to understand. We are, furthermore,
forced to analyse the constraints which a scientific
attitude places upon linguistic theorising
and description-building. It is these questions concerning
the acceptability of linguistic theories and
descriptions which we call linguistic meta-theory.
This thesis falls into five main parts. Firstly,
in Chapter One, we consider the nature and scope of
linguistic meta-theory. Secondly, in Chapter Two, we
look at a number of previous approaches to the subject.
Other important contributions are discussed as they
arise in the text. Thirdly, in Chapters Three and
Four, we consider in detail the major meta-theoretical
distinctions in linguistics and their consequences.
In particular, we distinguish linguistic theories
from linguistic descriptions and discuss the nature of
linguistic phenomena. The view is put forward that
linguistics is a scientific subject. The meaning of
this assertion is analysed and the interrelations of
linguistic theories, descriptions and phenomena are
considered in the light of this analysis. The main
epistemological requirement that is put forward and
defended is that of the empiricism of linguistics.
Certain changes in our view of the philosophy of science
and in our view of the form of linguistic theories
and descriptions follow from the conjunction of
these major meta-theoretical positions.
Fourthly, we consider the main meta-theoretical
considerations concerning theories (Chapter Five) and
reject a widespread view of linguistic theory as a
non-empirical study (Chapter Six) and we consider the
main meta-theoretical conditions relating to linguistic
descriptions and some practical examples of description
-building consonant with the general positions adopted
in Chapter Seven. In Chapter Eight, we look at a concrete
example of theory-building in the light of the
meta-theoretical conditions of acceptability previously
set up. We are especially concerned to show how a
theory can meet the condition of being "applicable" or
"indirectly scientific" through the establishment of
acceptable empirical descriptions consonant with the
meta-theoretical conditions on descriptions considered
earlier.
The view that linguistics is a science implies
that we must be concerned with the empirical testing of
descriptions and, so, the fifth part of the work is
devoted to methodology. In Chapter Nine, we defend
the role and necessity of methodology in linguistics
and set up the logical framework of relations between
the methodology and theory descriptions and phenomena.
In Chapter Ten, we examine two of the known types of
empirical testing and their shortcomings. Finally, in
Chapter Eleven, we give an example of the successful
and correct application of a methodology in order to
bring out the nature of empirical testing and to demonstrate
its feasibility within a scientific linguistics
of the sort we imagine.
1984-01-01T00:00:00ZRastall, P. R.Most linguists acknowledge, explicitly or implicitly,
the relevance of epistemological questions in
linguistics but relatively few have given more than a
cursory, ad hoc or incomplete consideration to them.
The work of one of those few, Jan Mulder, forms the
starting point for much of the present discussion.
Epistemological considerations arise in many contexts
in linguistics and in many guises. It is an epistemological
matter whenever we test the adequacy of a
description or the acceptability of a theory. Epistemological
considerations are latent whenever we discuss
the form or the content of linguistic theories
and descriptions or their interrelations. The comparison
of different approaches to linguistics inevitably
raises epistemological questions concerning our
approach to linguistics or our presuppositions about it.
These questions are of a general nature and transcend
questions about particular linguistic theories and descriptions.
These epistemological questions force us to
consider what we take linguistics to be. In considering
questions of the type mentioned we are forced, for
example, to analyse what we mean by a "linguistic
theory", a "linguistic description" and what phenomena
we are aiming to understand. We are, furthermore,
forced to analyse the constraints which a scientific
attitude places upon linguistic theorising
and description-building. It is these questions concerning
the acceptability of linguistic theories and
descriptions which we call linguistic meta-theory.
This thesis falls into five main parts. Firstly,
in Chapter One, we consider the nature and scope of
linguistic meta-theory. Secondly, in Chapter Two, we
look at a number of previous approaches to the subject.
Other important contributions are discussed as they
arise in the text. Thirdly, in Chapters Three and
Four, we consider in detail the major meta-theoretical
distinctions in linguistics and their consequences.
In particular, we distinguish linguistic theories
from linguistic descriptions and discuss the nature of
linguistic phenomena. The view is put forward that
linguistics is a scientific subject. The meaning of
this assertion is analysed and the interrelations of
linguistic theories, descriptions and phenomena are
considered in the light of this analysis. The main
epistemological requirement that is put forward and
defended is that of the empiricism of linguistics.
Certain changes in our view of the philosophy of science
and in our view of the form of linguistic theories
and descriptions follow from the conjunction of
these major meta-theoretical positions.
Fourthly, we consider the main meta-theoretical
considerations concerning theories (Chapter Five) and
reject a widespread view of linguistic theory as a
non-empirical study (Chapter Six) and we consider the
main meta-theoretical conditions relating to linguistic
descriptions and some practical examples of description
-building consonant with the general positions adopted
in Chapter Seven. In Chapter Eight, we look at a concrete
example of theory-building in the light of the
meta-theoretical conditions of acceptability previously
set up. We are especially concerned to show how a
theory can meet the condition of being "applicable" or
"indirectly scientific" through the establishment of
acceptable empirical descriptions consonant with the
meta-theoretical conditions on descriptions considered
earlier.
The view that linguistics is a science implies
that we must be concerned with the empirical testing of
descriptions and, so, the fifth part of the work is
devoted to methodology. In Chapter Nine, we defend
the role and necessity of methodology in linguistics
and set up the logical framework of relations between
the methodology and theory descriptions and phenomena.
In Chapter Ten, we examine two of the known types of
empirical testing and their shortcomings. Finally, in
Chapter Eleven, we give an example of the successful
and correct application of a methodology in order to
bring out the nature of empirical testing and to demonstrate
its feasibility within a scientific linguistics
of the sort we imagine.Trends in modern morphology: a critical studySuleiman, Muhammad Yasir Ibrahim Hammadhttp://hdl.handle.net/10023/26352016-03-28T11:10:58Z1984-01-01T00:00:00ZIn comparison with the fields of phonology, syntax, and
semantics, there is a distinct lack of a comprehensive and critical study
of morphological theory, particularly modern trends in this sub-branch
of linguistic theory. There is also a marked lack of interest in the
underlying methodological and epistemological foundations of
morphological theory, though this situation also holds for the three
other areas of core-linguistics mentioned above. The present thesis
has a modest aim: it is to give a critical and fairly comprehensive study
of five modern morphological approaches, with particular reference,
whenever possible, to their underlying methodological and epistemological
principles.
This thesis contains six chapters and a short Introduction. The
Introduction deals with the place and state of morphological studies in
modern linguistic theory. It also sets out the 'reasons' behind the
restriction of the scope of the thesis to the following five approaches:
(1) stratificational grammar, (2) transformational generative grammar,
(3) word and paradigm I (Robins), (4) word and paradigm II (Matthews),
and (5) axiomatic functionalism. A brief explanation of the format of the
approach adopted in studying these different trends is also given here. [Only transcribed in part due to abstract length].
1984-01-01T00:00:00ZSuleiman, Muhammad Yasir Ibrahim HammadIn comparison with the fields of phonology, syntax, and
semantics, there is a distinct lack of a comprehensive and critical study
of morphological theory, particularly modern trends in this sub-branch
of linguistic theory. There is also a marked lack of interest in the
underlying methodological and epistemological foundations of
morphological theory, though this situation also holds for the three
other areas of core-linguistics mentioned above. The present thesis
has a modest aim: it is to give a critical and fairly comprehensive study
of five modern morphological approaches, with particular reference,
whenever possible, to their underlying methodological and epistemological
principles.
This thesis contains six chapters and a short Introduction. The
Introduction deals with the place and state of morphological studies in
modern linguistic theory. It also sets out the 'reasons' behind the
restriction of the scope of the thesis to the following five approaches:
(1) stratificational grammar, (2) transformational generative grammar,
(3) word and paradigm I (Robins), (4) word and paradigm II (Matthews),
and (5) axiomatic functionalism. A brief explanation of the format of the
approach adopted in studying these different trends is also given here. [Only transcribed in part due to abstract length].The expression of identity in Equatorial Guinean narratives (1994 - 2007)McLeod, Naomihttp://hdl.handle.net/10023/26142016-03-28T11:35:46Z2012-06-21T00:00:00ZEquatorial Guinea is the only former Spanish colony in Africa south of the Sahara. Consequently, the Spanish-language literature produced by its authors has been resistant to classification in both the fields of Hispanic and African literary studies. This thesis examines a selection of contemporary narratives written between 1994 and 2007 by the following authors: José Fernando Siale Djangany, Maximiliano Nkogo Esono, Juan Tomás Ávila Laurel and Joaquín Mbomio Bacheng. My main objective in this dissertation is to identify, explain and relate the ways in which post-independence authors express identity in their respective texts. In order to accomplish this task, this thesis posits situational interactions as the key sites for identity expression. Developed from the tenets of symbolic interactionism, the syncretic theoretical model of identity views it as telescopic. It is expected that, through the examination of the chosen texts, a contribution can be made to the understanding of the way in which each author expresses identity and can therefore feed into the larger discussion of identity in Equatorial Guinean narrative.
2012-06-21T00:00:00ZMcLeod, NaomiEquatorial Guinea is the only former Spanish colony in Africa south of the Sahara. Consequently, the Spanish-language literature produced by its authors has been resistant to classification in both the fields of Hispanic and African literary studies. This thesis examines a selection of contemporary narratives written between 1994 and 2007 by the following authors: José Fernando Siale Djangany, Maximiliano Nkogo Esono, Juan Tomás Ávila Laurel and Joaquín Mbomio Bacheng. My main objective in this dissertation is to identify, explain and relate the ways in which post-independence authors express identity in their respective texts. In order to accomplish this task, this thesis posits situational interactions as the key sites for identity expression. Developed from the tenets of symbolic interactionism, the syncretic theoretical model of identity views it as telescopic. It is expected that, through the examination of the chosen texts, a contribution can be made to the understanding of the way in which each author expresses identity and can therefore feed into the larger discussion of identity in Equatorial Guinean narrative.Shams al-dim al-Sakhawi as a historian of the 9th/15th century : with an edition of that section of his chronicles (Wajiz al-kalam) covering the period 800-849 / 1397-1445Hasso, Ahmad Abdullahhttp://hdl.handle.net/10023/25812016-03-28T11:38:26Z1972-01-01T00:00:00ZAlthough a prolific writer of history, Sakhawi is, primarily, a
traditionist. As such, accuracy both in utterance and writing would,
by the very nature of his training, be his first objective.
Modern writers appear to have neglected the importance of his
contribution to the understanding of the history of his century.
accept for a few articles, comparatively little has been written. It
is, therefore, strange that such a mine of information as Sakhawi's
writing presents has remained so long in oblivion.
In this thesis an attempt has been made to evaluate that contribution
together with an edition of part of his work.
The study has been divided into three sections, the first dealing
with Sakhawi’s life and times. This part of the study is based largely
on his autobiography which was written but a few months before he died.
During research no reference was discovered to this most informative
work.
The section falls into three chapters, the first of which endeavours
to show the political and educational aspects of Cairo during the early
part of Sakhawi's lifetime. Cairo was his native city and, as such,
made great impact on his early life.
In the second chapter the position of his family, his Shaykhs, the
academic journeys he made, his residence in Hijaz and the last phase of
his life are portrayed.
The third chapter deals with his activities as an adult, his reputation
as a traditionist together with a survey of his works as presented in
his autobiography.
In the second part, the study deals exclusively with Sakhawi as
a historian of the 9th/15th century. This part also is divided into
two chapters, the first of which considers the following aspects: -
I Sakawi's works on the century;
II His motives, methods and literary style and
III His treatment of the history of the century.
The second chapter collates Sakhawi's methods of selecting his
information and the painstaking efforts he made to verify them, together
with his historical achievements, while the last two topics endeavour to
evaluate his task as a historian in that century.
Section three presents the hitherto unedited part of Wajiz al-Kalam...
which deals with the history of the 9th/15th century. This section
also falls into the three divisions of preface, text and annotations.
The last divides again into two groups one of which deals with the
textual variants mentioned in the footnotes and the other attempts to
deal with the interpretation of most of the idiom, colloquial expressions
and the names of places and personalities mentioned in the supplement to
the text.
1972-01-01T00:00:00ZHasso, Ahmad AbdullahAlthough a prolific writer of history, Sakhawi is, primarily, a
traditionist. As such, accuracy both in utterance and writing would,
by the very nature of his training, be his first objective.
Modern writers appear to have neglected the importance of his
contribution to the understanding of the history of his century.
accept for a few articles, comparatively little has been written. It
is, therefore, strange that such a mine of information as Sakhawi's
writing presents has remained so long in oblivion.
In this thesis an attempt has been made to evaluate that contribution
together with an edition of part of his work.
The study has been divided into three sections, the first dealing
with Sakhawi’s life and times. This part of the study is based largely
on his autobiography which was written but a few months before he died.
During research no reference was discovered to this most informative
work.
The section falls into three chapters, the first of which endeavours
to show the political and educational aspects of Cairo during the early
part of Sakhawi's lifetime. Cairo was his native city and, as such,
made great impact on his early life.
In the second chapter the position of his family, his Shaykhs, the
academic journeys he made, his residence in Hijaz and the last phase of
his life are portrayed.
The third chapter deals with his activities as an adult, his reputation
as a traditionist together with a survey of his works as presented in
his autobiography.
In the second part, the study deals exclusively with Sakhawi as
a historian of the 9th/15th century. This part also is divided into
two chapters, the first of which considers the following aspects: -
I Sakawi's works on the century;
II His motives, methods and literary style and
III His treatment of the history of the century.
The second chapter collates Sakhawi's methods of selecting his
information and the painstaking efforts he made to verify them, together
with his historical achievements, while the last two topics endeavour to
evaluate his task as a historian in that century.
Section three presents the hitherto unedited part of Wajiz al-Kalam...
which deals with the history of the 9th/15th century. This section
also falls into the three divisions of preface, text and annotations.
The last divides again into two groups one of which deals with the
textual variants mentioned in the footnotes and the other attempts to
deal with the interpretation of most of the idiom, colloquial expressions
and the names of places and personalities mentioned in the supplement to
the text.Sites of struggle: representations of family in Spanish film (1996-2004)Rutherford, Jennifer R.http://hdl.handle.net/10023/25572016-03-28T11:01:46Z2010-06-24T00:00:00ZThis thesis analyses how ways of thinking about and meanings of family are (re)negotiated and (re)presented in six films that, to varying degrees, are categorised as cine social. The group of films consists of Familia (León de Aranoa, 1996), Solas (Zambrano, 1999), Flores de otro mundo (Bollaín, 1999), Poniente (Gutiérrez, 2002), Te doy mis ojos (Bollaín, 2003) and Cachorro (Albaladejo, 2004). Despite the growing body of critical work on the wide-ranging social themes they deal with, little sustained attention has been given to their representations of family. Scholars tend to mention it only in passing, or refer back to the allegorical/mediating function that family has often played in Spanish cinema. The objective of this thesis is to place the emphasis, as the films do themselves, on the family per se. Insights into family from a range of academic fields including philosophy, sociology, feminist and queer theories and cultural, race and gender studies are combined with close textual readings and a consideration of the modes of representation and address employed in the films to analyse how they function as sites of ideological struggle. The thesis begins by sketching out historically and culturally situated definitions of family and providing an overview of some of its most iconic representations in Spanish cinema. Establishing many of the aspects developed in the main body of the thesis the first chapter concentrates on Familia, which denaturalises the hegemonic family by presenting it as a self-conscious performance. The subsequent four chapters focus on family forms, roles, practices, commitment, power dynamics and domestic space. They explore how the films’ affective and informed modes of address position the spectator in relation to criticisms of the traditional family and evaluations of emerging family ideologies, finally proposing that they could usefully be viewed as a cycle of postmodern family melodramas.
Electronic version excludes material for which permission has not been granted by the rights holder
2010-06-24T00:00:00ZRutherford, Jennifer R.This thesis analyses how ways of thinking about and meanings of family are (re)negotiated and (re)presented in six films that, to varying degrees, are categorised as cine social. The group of films consists of Familia (León de Aranoa, 1996), Solas (Zambrano, 1999), Flores de otro mundo (Bollaín, 1999), Poniente (Gutiérrez, 2002), Te doy mis ojos (Bollaín, 2003) and Cachorro (Albaladejo, 2004). Despite the growing body of critical work on the wide-ranging social themes they deal with, little sustained attention has been given to their representations of family. Scholars tend to mention it only in passing, or refer back to the allegorical/mediating function that family has often played in Spanish cinema. The objective of this thesis is to place the emphasis, as the films do themselves, on the family per se. Insights into family from a range of academic fields including philosophy, sociology, feminist and queer theories and cultural, race and gender studies are combined with close textual readings and a consideration of the modes of representation and address employed in the films to analyse how they function as sites of ideological struggle. The thesis begins by sketching out historically and culturally situated definitions of family and providing an overview of some of its most iconic representations in Spanish cinema. Establishing many of the aspects developed in the main body of the thesis the first chapter concentrates on Familia, which denaturalises the hegemonic family by presenting it as a self-conscious performance. The subsequent four chapters focus on family forms, roles, practices, commitment, power dynamics and domestic space. They explore how the films’ affective and informed modes of address position the spectator in relation to criticisms of the traditional family and evaluations of emerging family ideologies, finally proposing that they could usefully be viewed as a cycle of postmodern family melodramas.Les philosophes de l'exil républicain espagnol de 1939 : autour de José Bergamín, Juan David García Bacca et María Zambrano (1939-1965)Foehn, Saloméhttp://hdl.handle.net/10023/25512016-03-28T11:28:22Z2012-06-01T00:00:00ZSpanish Republican philosophers in exile defended the Second Republic, legally proclaimed on April 14, 1931. They embraced the anti-fascist cause rising in the 1920s and the 1930s in Europe. During the Civil War, which lasted three years, they stood among the people. 1939 saw the victory of General Francisco Franco, supported by Nazi Germany and the Italy of Mussolini. Threatened with death, they had no choice but to escape from Spain. Some intellectuals experienced French concentration camps but, for the most part, they found refuge in Latin America, especially in Mexico and Venezuela. In exile, they swore to remain loyal to the Second Republic and to the spirit of the Spanish people.
Moved by liberal views and humane ideals, these philosophers belonged to the vanquished, as those everywhere in Europe who rose against Fascist barbarity. As a result, their respective works are still widely unknown today – despite relentless efforts made to promote their thought to a larger audience for over half a century.
In addition to the historical context of crisis during the interwar period, the situation of Spanish philosophy itself is suggestive. Indeed, Spanish philosophy was institutionalised at the beginning of the twentieth century only: the Schools of Madrid and Barcelona were created. These politics of cultural and intellectual renovation are first bestowed upon the generation of philosophers I study, born in the 1900s. When the Spanish War erupts, they had become professionals of international recognition. This shows the actual limits of academic philosophy, incapable of acknowledging unorthodox ways of philosophising.
The experience of exile itself serves in my opinion as a catalyst: Spanish Republican philosophers in exile seek emancipation from academic conventions to philosophise freely; that is, in Spanish and according to the spirit of the people. No doubt “poetic reason” – the true invention of Spanish Republican exile – stems from this ideal of autonomous thinking.
2012-06-01T00:00:00ZFoehn, SaloméSpanish Republican philosophers in exile defended the Second Republic, legally proclaimed on April 14, 1931. They embraced the anti-fascist cause rising in the 1920s and the 1930s in Europe. During the Civil War, which lasted three years, they stood among the people. 1939 saw the victory of General Francisco Franco, supported by Nazi Germany and the Italy of Mussolini. Threatened with death, they had no choice but to escape from Spain. Some intellectuals experienced French concentration camps but, for the most part, they found refuge in Latin America, especially in Mexico and Venezuela. In exile, they swore to remain loyal to the Second Republic and to the spirit of the Spanish people.
Moved by liberal views and humane ideals, these philosophers belonged to the vanquished, as those everywhere in Europe who rose against Fascist barbarity. As a result, their respective works are still widely unknown today – despite relentless efforts made to promote their thought to a larger audience for over half a century.
In addition to the historical context of crisis during the interwar period, the situation of Spanish philosophy itself is suggestive. Indeed, Spanish philosophy was institutionalised at the beginning of the twentieth century only: the Schools of Madrid and Barcelona were created. These politics of cultural and intellectual renovation are first bestowed upon the generation of philosophers I study, born in the 1900s. When the Spanish War erupts, they had become professionals of international recognition. This shows the actual limits of academic philosophy, incapable of acknowledging unorthodox ways of philosophising.
The experience of exile itself serves in my opinion as a catalyst: Spanish Republican philosophers in exile seek emancipation from academic conventions to philosophise freely; that is, in Spanish and according to the spirit of the people. No doubt “poetic reason” – the true invention of Spanish Republican exile – stems from this ideal of autonomous thinking.The work of Aleksandr Grin (1880-1932) : a study of Grin's philosophical outlookMartowicz, Krzysztofhttp://hdl.handle.net/10023/24672016-03-28T11:33:22Z2011-11-30T00:00:00ZThere has been to date no attempt at a detailed examination of Aleksandr Grin’s
philosophical views interpreted on the basis of his literary work. Whilst some critics have
noted interesting links between the writer’s oeuvre and a few popular philosophers, this has
usually been done in passing and on an ad hoc basis. This thesis aims to fill this gap by
reconstructing Grin’s views in relation to the European philosophical tradition.
The main body of the thesis consists of three parts built on and named after three
essential themes in philosophy: External World, Happiness and Morality.
Part One delineates Grin’s views on nature and civilisation: I argue first that his cult of
nature makes it possible to conceive of Grin as a pantheistic thinker close to Rousseau and
Bergson, and then I reconstruct the author’s criticism of urbanisation and industrialisation.
In the second part I assess the place of happiness in Grin’s world-view, indicating its
similarities to the philosophy of various thinkers from the Ancients to Schopenhauer and
Nietzsche. After sketching a general picture of the concept of happiness in Grin’s works, I
discuss the place of material and immaterial factors in the writer’s outlook. I also gather
maxims expressed by the protagonists in his fiction that can be taken as recommendations
concerning ways of achieving and defending happiness. Finally, I link happiness with the
problem of morality in Grin’s oeuvre.
In the final part I examine modes of moral behaviour as displayed by the author’s
protagonists. Firstly, I argue that in Grin’s works we find numerous examples and themes that
allow us to perceive him as an existentialist. Secondly, I indicate Grin’s adherence to rules of
conduct commonly associated with chivalric literature. Thirdly, I emphasise the importance of
Promethean-like characters in the moral hierarchy of Grin’s protagonists.
2011-11-30T00:00:00ZMartowicz, KrzysztofThere has been to date no attempt at a detailed examination of Aleksandr Grin’s
philosophical views interpreted on the basis of his literary work. Whilst some critics have
noted interesting links between the writer’s oeuvre and a few popular philosophers, this has
usually been done in passing and on an ad hoc basis. This thesis aims to fill this gap by
reconstructing Grin’s views in relation to the European philosophical tradition.
The main body of the thesis consists of three parts built on and named after three
essential themes in philosophy: External World, Happiness and Morality.
Part One delineates Grin’s views on nature and civilisation: I argue first that his cult of
nature makes it possible to conceive of Grin as a pantheistic thinker close to Rousseau and
Bergson, and then I reconstruct the author’s criticism of urbanisation and industrialisation.
In the second part I assess the place of happiness in Grin’s world-view, indicating its
similarities to the philosophy of various thinkers from the Ancients to Schopenhauer and
Nietzsche. After sketching a general picture of the concept of happiness in Grin’s works, I
discuss the place of material and immaterial factors in the writer’s outlook. I also gather
maxims expressed by the protagonists in his fiction that can be taken as recommendations
concerning ways of achieving and defending happiness. Finally, I link happiness with the
problem of morality in Grin’s oeuvre.
In the final part I examine modes of moral behaviour as displayed by the author’s
protagonists. Firstly, I argue that in Grin’s works we find numerous examples and themes that
allow us to perceive him as an existentialist. Secondly, I indicate Grin’s adherence to rules of
conduct commonly associated with chivalric literature. Thirdly, I emphasise the importance of
Promethean-like characters in the moral hierarchy of Grin’s protagonists.The OuLiPoe, or constraint and (contre-)performance : ‘The Philosophy of Composition’ and the Oulipian manifestosMorisi, Eve Celiahttp://hdl.handle.net/10023/19952018-01-07T02:33:08Z2008-03-01T00:00:00Z2008-03-01T00:00:00ZMorisi, Eve CeliaThe experience of the pronunciamiento in San Luis Potosí, 1821-1849McDonald, Kerryhttp://hdl.handle.net/10023/19652016-08-11T10:14:29Z2011-01-01T00:00:00ZThe Hispanic phenomenon of the pronunciamiento, particularly prominent in
nineteenth-century Mexico, is just one example of an insurrectionary political act that
has contributed to the traditional portrait of chaos and disorder that has tainted much
of our interpretation of the country‟s socio-political history. Once considered to be a
violent, non-ideological, praetorian military act, recent studies reveal that the
pronunciamiento was primarily a written petition that sought to further political
proposals or address particular grievances through negotiation (albeit often backed by
the threat of force). Although the military were largely the most visible leaders of the
pronunciamiento, a plethora of political and civilian actors and interest groups partook
in the practice with the intention of having their grievances/demands attended to by
the national government.
As well as being viewed as one of the causes of chronic instability, the
pronunciamiento was also the primary mechanism employed to bring about tangible
political changes throughout the country. At the local level of San Luis Potosí, the
pronunciamiento seed also germinated and was used by all political groups and
factions in their negotiations with local and national authorities alike. Local interests
were often at the heart of these negotiations and so dictated the nature of the
pronunciamiento in San Luis Potosí.
This dissertation will explore and analyse the pronunciamiento practice, its
origins, dynamics and nature, from the regional perspective of San Luis Potosí.
Bearing in mind that the pronunciamiento was borne out of, and operated in a specific
socio-political-economic context of constitutional disarray and transition, its analysis
will also further our understanding of the broader socio-political culture not only of
San Luis Potosí, but of Mexico in general. This in turn will contribute to the
acknowledged need for reinterpretation and revaluation of the tumultuous period of
early nineteenth-century Mexico. It will expose the period as an age of democratic
revolutions; of intense political debate between emergent political groups and
factions, who increasingly used the pronunciamiento to further an ideological stance,
represent a spectrum of interests and force some kind of political change both at a
national and regional level when all other constitutional options had been exhausted.
2011-01-01T00:00:00ZMcDonald, KerryThe Hispanic phenomenon of the pronunciamiento, particularly prominent in
nineteenth-century Mexico, is just one example of an insurrectionary political act that
has contributed to the traditional portrait of chaos and disorder that has tainted much
of our interpretation of the country‟s socio-political history. Once considered to be a
violent, non-ideological, praetorian military act, recent studies reveal that the
pronunciamiento was primarily a written petition that sought to further political
proposals or address particular grievances through negotiation (albeit often backed by
the threat of force). Although the military were largely the most visible leaders of the
pronunciamiento, a plethora of political and civilian actors and interest groups partook
in the practice with the intention of having their grievances/demands attended to by
the national government.
As well as being viewed as one of the causes of chronic instability, the
pronunciamiento was also the primary mechanism employed to bring about tangible
political changes throughout the country. At the local level of San Luis Potosí, the
pronunciamiento seed also germinated and was used by all political groups and
factions in their negotiations with local and national authorities alike. Local interests
were often at the heart of these negotiations and so dictated the nature of the
pronunciamiento in San Luis Potosí.
This dissertation will explore and analyse the pronunciamiento practice, its
origins, dynamics and nature, from the regional perspective of San Luis Potosí.
Bearing in mind that the pronunciamiento was borne out of, and operated in a specific
socio-political-economic context of constitutional disarray and transition, its analysis
will also further our understanding of the broader socio-political culture not only of
San Luis Potosí, but of Mexico in general. This in turn will contribute to the
acknowledged need for reinterpretation and revaluation of the tumultuous period of
early nineteenth-century Mexico. It will expose the period as an age of democratic
revolutions; of intense political debate between emergent political groups and
factions, who increasingly used the pronunciamiento to further an ideological stance,
represent a spectrum of interests and force some kind of political change both at a
national and regional level when all other constitutional options had been exhausted.Memory and self-representation in the works of Jorge SemprúnOmlor, Danielahttp://hdl.handle.net/10023/19632016-04-20T13:10:08Z2011-06-01T00:00:00ZJorge Semprún’s work is the fruit of an incarceration in the concentration camp of Buchenwald as a resistance fighter and his expulsion from the Partido Comunista Español in 1964. Due to these biographical circumstances, many critical literary studies to date limit the discussion of his works to the autobiographical and the realm of Holocaust studies. Together with the texts that do not fit adequately into this categories, his self-identification as a Spanish exile has up to now been neglected. The present thesis aims to provide a more global view of his oeuvre by extending the literary analyses to texts that have deserved little critical attention. In order to achieve this, it investigates the role played by memory and self-representation in a variety of works by Semprún. Aspects connected to memory such as exile and nostalgia, the Holocaust, the interplay between memory and writing, politics and collective memory, postmemory and identity are examined by means of a detailed analysis of the selected works and are discussed thematically. Differences in genre are discarded for the discussion and interconnections between the various narratives are highlighted. With the help of memory and trauma theories, we come to the conclusion that memory is the overarching principle of Semprún’s writing and that he invests it with an aesthetic and ethical value which is interpreted as the justification for his devotion to writing.
2011-06-01T00:00:00ZOmlor, DanielaJorge Semprún’s work is the fruit of an incarceration in the concentration camp of Buchenwald as a resistance fighter and his expulsion from the Partido Comunista Español in 1964. Due to these biographical circumstances, many critical literary studies to date limit the discussion of his works to the autobiographical and the realm of Holocaust studies. Together with the texts that do not fit adequately into this categories, his self-identification as a Spanish exile has up to now been neglected. The present thesis aims to provide a more global view of his oeuvre by extending the literary analyses to texts that have deserved little critical attention. In order to achieve this, it investigates the role played by memory and self-representation in a variety of works by Semprún. Aspects connected to memory such as exile and nostalgia, the Holocaust, the interplay between memory and writing, politics and collective memory, postmemory and identity are examined by means of a detailed analysis of the selected works and are discussed thematically. Differences in genre are discarded for the discussion and interconnections between the various narratives are highlighted. With the help of memory and trauma theories, we come to the conclusion that memory is the overarching principle of Semprún’s writing and that he invests it with an aesthetic and ethical value which is interpreted as the justification for his devotion to writing.La vita in uno spot : un'indagine diacronica della pubblicità televisiva italiana, 1957-1977Casarini, Ritahttp://hdl.handle.net/10023/19202017-03-04T00:15:54Z2011-06-21T00:00:00ZThe present dissertation investigates the role of television advertising in shaping the cultural values of the Italian society in the circular process of mirroring pre-existing societal values yet inducing new ones, thus contributing to its evolution. It questions its role within the society, its relationship with families, women and youngsters, the kind of language used in communicating, between 1957-1977, the age of Carosello programme.
A corpus of two thousand five hundred television adverts was viewed and filed, of which a hundred were selected according to the more frequent themes, their cultural and semiotic relevance, and twenty-two analysed by a semiotic approach, together with some more considered alongside. Chapter One deals with methodology, an overview of the main concepts and tools of applied semiotics and the socio-semiotic perspective adopted. Chapter Two, then, contextualizes television advertising into its broader socio-cultural milieu and the history of television.
The following three chapters analyze the selected adverts according to five main recurring themes: Chapter Three, the first steps of TV advertising, its auto-referentiality and its language; Chapter Four, the family and its inner relationships, the couple and the institution of marriage; Chapter Five women‘s emancipation, the new generation of youngsters and new myths. Commercials are analysed by shots and sequences from a narrative and visual perspective in search of their deep underlying generative values. The approach is a holistic one, adapting itself to the prevailing characteristics of every occurrence, although the peculiar nature of the ads of the period entails a prevailing narratological model. All findings are then connected together to identify the main semantic areas indicating cultural values present in the Italian society of the period.
The end findings consist of a set of interesting cultural values identified. At first a self-assertiveness of advertising as a way to popularity; then its preferred mode of communication through verbal language rather than pictures; a representation of families according to either the patriarchal or the consumerist model; a fundamental disbelief in marriage and a sexist attitude to women‘s representation; finally, a mistrust in the values of the new generations. All of these eventually pointing to the main semantic area of tradition, an index to the fundamental conservative yet contradictory role of the Carosello adverting which, while contributing to preserve traditional values, it also tended to replace them with its only main consumerist value. At a higher level, on a socio-semiotic perspective it is the role of that semiosphere which, while drawing from society it also contributes in shaping it.
2011-06-21T00:00:00ZCasarini, RitaThe present dissertation investigates the role of television advertising in shaping the cultural values of the Italian society in the circular process of mirroring pre-existing societal values yet inducing new ones, thus contributing to its evolution. It questions its role within the society, its relationship with families, women and youngsters, the kind of language used in communicating, between 1957-1977, the age of Carosello programme.
A corpus of two thousand five hundred television adverts was viewed and filed, of which a hundred were selected according to the more frequent themes, their cultural and semiotic relevance, and twenty-two analysed by a semiotic approach, together with some more considered alongside. Chapter One deals with methodology, an overview of the main concepts and tools of applied semiotics and the socio-semiotic perspective adopted. Chapter Two, then, contextualizes television advertising into its broader socio-cultural milieu and the history of television.
The following three chapters analyze the selected adverts according to five main recurring themes: Chapter Three, the first steps of TV advertising, its auto-referentiality and its language; Chapter Four, the family and its inner relationships, the couple and the institution of marriage; Chapter Five women‘s emancipation, the new generation of youngsters and new myths. Commercials are analysed by shots and sequences from a narrative and visual perspective in search of their deep underlying generative values. The approach is a holistic one, adapting itself to the prevailing characteristics of every occurrence, although the peculiar nature of the ads of the period entails a prevailing narratological model. All findings are then connected together to identify the main semantic areas indicating cultural values present in the Italian society of the period.
The end findings consist of a set of interesting cultural values identified. At first a self-assertiveness of advertising as a way to popularity; then its preferred mode of communication through verbal language rather than pictures; a representation of families according to either the patriarchal or the consumerist model; a fundamental disbelief in marriage and a sexist attitude to women‘s representation; finally, a mistrust in the values of the new generations. All of these eventually pointing to the main semantic area of tradition, an index to the fundamental conservative yet contradictory role of the Carosello adverting which, while contributing to preserve traditional values, it also tended to replace them with its only main consumerist value. At a higher level, on a socio-semiotic perspective it is the role of that semiosphere which, while drawing from society it also contributes in shaping it.'Post-Soviet neo-modernism' : an approach to 'postmodernism' and humour in the post-Soviet Russian fiction of Vladimir Sorokin, Vladimir Tuchkov and Aleksandr KhurginDreyer, Nicolas D.http://hdl.handle.net/10023/19172017-05-08T10:39:54Z2011-06-23T00:00:00ZThe present work analyses the fiction of the post-Soviet Russian writers,
Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin against the
background of the notion of post-Soviet Russian postmodernism. In doing
so, it investigates the usefulness and accuracy of this very notion, proposing
that of ‘post-Soviet neo-modernism’ instead. Common critical approaches to
post-Soviet Russian literature as being postmodern are questioned through
an examination of the concept of postmodernism in its interrelated historical,
social, and philosophical dimensions, and of its utility and adequacy in the
Russian cultural context. In addition, it is proposed that the humorous and
grotesque nature of certain post-Soviet works can be viewed as a creatively
critical engagement with both the past, i.e. Soviet ideology, and the present,
the socially tumultuous post-Soviet years.
Russian modernism, while sharing typologically and literary-historically
a number of key characteristics with Western modernism, was particularly
motivated by a turning to the cultural repository of Russia’s past, and a
metaphysical yearning for universal meaning transcending the perceived fragmentation
of the tangible modern world. Continuing the older Russian tradition
of resisting rationalism, and impressed by the sense of realist aesthetics
failing the writer in the task of representing a world that eluded rational
comprehension, modernists tended to subordinate artistic concerns to their
esoteric convictions. Without appreciation of this spiritual dimension, semantic
intention in Russian modernist fiction may escape a reader used to
the conventions of realist fiction. It is suggested that contemporary Russian
fiction as embodied in certain works by Sorokin, Tuchkov and Khurgin, while
stylistically exhibiting a number of features commonly regarded as postmodern,
such as parody, pastiche, playfulness, carnivalisation, the grotesque, intertextuality
and self-consciousness, seems to resume modernism’s tendency
to seek meaning and value for human existence in the transcendent realm, as
well as in the cultural, in particular literary, treasures of the past. The closeness
of such segments of post-Soviet fiction and modernism in this regard is,
it is argued, ultimately contrary to the spirit of postmodernism and its relativistic
and particularistic worldview. Hence the suggested conceptualisation
of post-Soviet Russian fiction as ‘neo-modernist’.
2011-06-23T00:00:00ZDreyer, Nicolas D.The present work analyses the fiction of the post-Soviet Russian writers,
Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin against the
background of the notion of post-Soviet Russian postmodernism. In doing
so, it investigates the usefulness and accuracy of this very notion, proposing
that of ‘post-Soviet neo-modernism’ instead. Common critical approaches to
post-Soviet Russian literature as being postmodern are questioned through
an examination of the concept of postmodernism in its interrelated historical,
social, and philosophical dimensions, and of its utility and adequacy in the
Russian cultural context. In addition, it is proposed that the humorous and
grotesque nature of certain post-Soviet works can be viewed as a creatively
critical engagement with both the past, i.e. Soviet ideology, and the present,
the socially tumultuous post-Soviet years.
Russian modernism, while sharing typologically and literary-historically
a number of key characteristics with Western modernism, was particularly
motivated by a turning to the cultural repository of Russia’s past, and a
metaphysical yearning for universal meaning transcending the perceived fragmentation
of the tangible modern world. Continuing the older Russian tradition
of resisting rationalism, and impressed by the sense of realist aesthetics
failing the writer in the task of representing a world that eluded rational
comprehension, modernists tended to subordinate artistic concerns to their
esoteric convictions. Without appreciation of this spiritual dimension, semantic
intention in Russian modernist fiction may escape a reader used to
the conventions of realist fiction. It is suggested that contemporary Russian
fiction as embodied in certain works by Sorokin, Tuchkov and Khurgin, while
stylistically exhibiting a number of features commonly regarded as postmodern,
such as parody, pastiche, playfulness, carnivalisation, the grotesque, intertextuality
and self-consciousness, seems to resume modernism’s tendency
to seek meaning and value for human existence in the transcendent realm, as
well as in the cultural, in particular literary, treasures of the past. The closeness
of such segments of post-Soviet fiction and modernism in this regard is,
it is argued, ultimately contrary to the spirit of postmodernism and its relativistic
and particularistic worldview. Hence the suggested conceptualisation
of post-Soviet Russian fiction as ‘neo-modernist’.La coalición pedracista : elecciones y rebeliones para una re-definición de la participación política en México (1826-1828)Romero-Valderrama, Anahttp://hdl.handle.net/10023/19052016-08-09T09:05:18Z2011-03-24T00:00:00ZThe pedracista electoral coalition that was formed in Mexico during the 1828 presidential elections was deliberately ignored by the traditional historiography of the early national period. Instead it concentrated on the leaders of the liberal struggle, deeming this alliance unworthy of study. There were essentially two key reasons why this happened. On the one hand, General Manuel Gómez Pedraza (1789-1851) was not an archetypal liberal patriot in the mould of those heroes that were exalted and written about by Mexico’s Porfirian and PRIísta historians. His politics were associated with a certain ideological indeterminateness as a result of his moderate stance, proving problematic to historians who were intent on developing a liberal and subsequently post-revolutionary historia patria. On the other hand, the official historiography accepted, unquestioningly, the critical version of his actions that his opponents circulated at the time. As a result of this, the yorkino version of the events is the one that prevailed, casting Pedraza in the role of staunch anti-yorkino in a simplistic bipartisan vision of Mexican politics that depicted the political tensions of the time as a clear-cut confrontation between the pedracista aristocrats and the democratic yorkino followers of mulatto hero of the War of Independence, General Vicente Guerrero (1783-1831).
This two-dimensional dichotomy has only recently started to be nuanced by the revisionist historiography of the last thirty years. This has been due, in great measure, to the fact that the traditional interpretation of the pedracista coalition posed a number of significant problems when attempting to understand the political behaviour of the people involved. Above all, it was an interpretation that proved incapable of explaining how such a variety of political tendencies, represented by those individuals who joined the alliance that backed Pedraza’s presidential candidacy, could have come together; i.e., anti-masonic groups, the imparciales, certain yorkinos and former escoceses. This thesis aims to explain what brought these individuals, whose political ideas were ostensibly incompatible, together, in what resulted in a particularly resourceful and successful electoral force.
The pedracista coalition represented the first political formation in Mexico that came together specifically to win a presidential election. It was one which set out to bring an end to the political interference of Masonic societies in Mexico, and in particular, that of the Rite of York lodges. It also challenged the yorkinos’ electoral campaign by criticising their leader, Guerrero, and, by highlighting the negative aspects of their Masonic faction. It pointed out, moreover, the dangers inherent in a central administration led by guerrerista yorkinos and, in so doing, made clear the problems that were to be found in the political ideas these individuals stood for, depicting them as partisan, ignorant, and representative of the popular classes. The pedracista coalition argued that the presidency needed to go to someone who did not belong to any particular party, who was virtuous, who was renowned for being hard-working and energetic in government, and who belonged to the exclusive circles frequented by the “hombres de bien”. Given that Pedraza won the elections, it is evident that his coalition benefited from a constitutional structure that favoured his candidacy, gaining, at the same time, the public validation of the governmental authorities in place at the time. However, Pedraza’s candidacy was defeated by the armed mobilizations that ensued in the pronunciamientos pro-yorkino followers launched from October to November 1828, and was consequently eliminated from the political scene until late 1832 given that the leaders of the imparciales as well as Pedraza himself chose not to fight back or support a counter-revolution.
During the electoral campaign, the pedracista coalition displayed, with astounding clarity, what it thought were the essential qualities a president needed to possess and, likewise presented a distinctive appreciation of how it thought the Mexican political class should behave. In this sense, the coalition’s views, captured in its votes, networks and press articles, offer a fascinating snapshot of what were the fundamental themes of the Mexican republic during its formative years as a nation-state, and how this ignored political grouping interpreted them. Of particular interest is the manner in which the pedracista coalition explored the ways in which political legitimacy, participation and representation were to be understood, defended, and systematised. By studying the pedracista coalition this thesis offers, for the first time, a detailed analysis of the nature and dynamics of Mexican politics in the mid-late 1820s, as experienced, discussed, and represented by the short-lasting yet effective alliance that was forged around the candidacy of Manuel Gómez Pedraza.
2011-03-24T00:00:00ZRomero-Valderrama, AnaThe pedracista electoral coalition that was formed in Mexico during the 1828 presidential elections was deliberately ignored by the traditional historiography of the early national period. Instead it concentrated on the leaders of the liberal struggle, deeming this alliance unworthy of study. There were essentially two key reasons why this happened. On the one hand, General Manuel Gómez Pedraza (1789-1851) was not an archetypal liberal patriot in the mould of those heroes that were exalted and written about by Mexico’s Porfirian and PRIísta historians. His politics were associated with a certain ideological indeterminateness as a result of his moderate stance, proving problematic to historians who were intent on developing a liberal and subsequently post-revolutionary historia patria. On the other hand, the official historiography accepted, unquestioningly, the critical version of his actions that his opponents circulated at the time. As a result of this, the yorkino version of the events is the one that prevailed, casting Pedraza in the role of staunch anti-yorkino in a simplistic bipartisan vision of Mexican politics that depicted the political tensions of the time as a clear-cut confrontation between the pedracista aristocrats and the democratic yorkino followers of mulatto hero of the War of Independence, General Vicente Guerrero (1783-1831).
This two-dimensional dichotomy has only recently started to be nuanced by the revisionist historiography of the last thirty years. This has been due, in great measure, to the fact that the traditional interpretation of the pedracista coalition posed a number of significant problems when attempting to understand the political behaviour of the people involved. Above all, it was an interpretation that proved incapable of explaining how such a variety of political tendencies, represented by those individuals who joined the alliance that backed Pedraza’s presidential candidacy, could have come together; i.e., anti-masonic groups, the imparciales, certain yorkinos and former escoceses. This thesis aims to explain what brought these individuals, whose political ideas were ostensibly incompatible, together, in what resulted in a particularly resourceful and successful electoral force.
The pedracista coalition represented the first political formation in Mexico that came together specifically to win a presidential election. It was one which set out to bring an end to the political interference of Masonic societies in Mexico, and in particular, that of the Rite of York lodges. It also challenged the yorkinos’ electoral campaign by criticising their leader, Guerrero, and, by highlighting the negative aspects of their Masonic faction. It pointed out, moreover, the dangers inherent in a central administration led by guerrerista yorkinos and, in so doing, made clear the problems that were to be found in the political ideas these individuals stood for, depicting them as partisan, ignorant, and representative of the popular classes. The pedracista coalition argued that the presidency needed to go to someone who did not belong to any particular party, who was virtuous, who was renowned for being hard-working and energetic in government, and who belonged to the exclusive circles frequented by the “hombres de bien”. Given that Pedraza won the elections, it is evident that his coalition benefited from a constitutional structure that favoured his candidacy, gaining, at the same time, the public validation of the governmental authorities in place at the time. However, Pedraza’s candidacy was defeated by the armed mobilizations that ensued in the pronunciamientos pro-yorkino followers launched from October to November 1828, and was consequently eliminated from the political scene until late 1832 given that the leaders of the imparciales as well as Pedraza himself chose not to fight back or support a counter-revolution.
During the electoral campaign, the pedracista coalition displayed, with astounding clarity, what it thought were the essential qualities a president needed to possess and, likewise presented a distinctive appreciation of how it thought the Mexican political class should behave. In this sense, the coalition’s views, captured in its votes, networks and press articles, offer a fascinating snapshot of what were the fundamental themes of the Mexican republic during its formative years as a nation-state, and how this ignored political grouping interpreted them. Of particular interest is the manner in which the pedracista coalition explored the ways in which political legitimacy, participation and representation were to be understood, defended, and systematised. By studying the pedracista coalition this thesis offers, for the first time, a detailed analysis of the nature and dynamics of Mexican politics in the mid-late 1820s, as experienced, discussed, and represented by the short-lasting yet effective alliance that was forged around the candidacy of Manuel Gómez Pedraza.El exilio en la poesía de Tomás Segovia y Angelina Muñiz HubermanTasis Moratinos, Eduardohttp://hdl.handle.net/10023/18862016-03-28T11:27:50Z2011-05-23T00:00:00ZTomás Segovia and Angelina Muñiz Huberman belong to a group of writers known as «Hispanomexicanos». Most approaches to this generation have been towards the role that exile plays in their early work, paying almost no attention to its role after that initial stage. These approaches have been limited to the first years of their work, in the belief that those writers subsequently moved on to deal with issues which are different from those in which their experience of exile is clearly the central topic. However, through an analysis of the poetry of Muñiz and Segovia, this thesis aims to show that exile continues to play a central role beyond that first stage. It argues that their exile is transformed into a series of symbols that come to constitute a shared style and, more importantly, it proposes that their experience of exile is transformed into a feeling of existential displacement which impels a search for meaning and belonging to the world. Consequently, the conclusion presented in this thesis is that exile plays a central role in their poetry, in the sense that it expresses the ways in which these two writers search and transmit meaning and attempt to feel part of the world. Ultimately, this thesis aims to set an example of approach which could be productively taken to study the work of other writers from this generation.
2011-05-23T00:00:00ZTasis Moratinos, EduardoTomás Segovia and Angelina Muñiz Huberman belong to a group of writers known as «Hispanomexicanos». Most approaches to this generation have been towards the role that exile plays in their early work, paying almost no attention to its role after that initial stage. These approaches have been limited to the first years of their work, in the belief that those writers subsequently moved on to deal with issues which are different from those in which their experience of exile is clearly the central topic. However, through an analysis of the poetry of Muñiz and Segovia, this thesis aims to show that exile continues to play a central role beyond that first stage. It argues that their exile is transformed into a series of symbols that come to constitute a shared style and, more importantly, it proposes that their experience of exile is transformed into a feeling of existential displacement which impels a search for meaning and belonging to the world. Consequently, the conclusion presented in this thesis is that exile plays a central role in their poetry, in the sense that it expresses the ways in which these two writers search and transmit meaning and attempt to feel part of the world. Ultimately, this thesis aims to set an example of approach which could be productively taken to study the work of other writers from this generation.The generic originality of Iurii Tynianov's representation of Pushkin in the novels 'Pushkin' and 'The Gannibals'Rush, Annahttp://hdl.handle.net/10023/17122016-03-28T11:10:41Z2011-01-01T00:00:00ZThis thesis is the first extensive study devoted to the generic originality of Iurii Tynianov’s
representation of Pushkin in his two historical novels, Pushkin (1935-1943) and the abandoned
The Gannibals (1932). Chapter 1 contextualises Tynianov’s contribution to the current debates
on the novel’s demise, ‘large’ form and the worthy protagonist. The conditions giving rise to
contemporary interest in the genres of biography and the historical novel are delineated and the
critical issues surrounding these are examined; Tynianov’s concern to secularise the rigid
monolith of an all but sanctified ‘state-sponsored Pushkin’ and the difficulties of the task are
also reviewed. Chapter 2 shifts the examination of Pushkin as a historical novel to its study
within the generic framework of the Bildungs, Erziehungs and Künstlerromane with their
particular problematics which allowed Tynianov to grapple with a cluster of moral,
philosophical and educational issues, and to explore the formative influences on the
protagonist’s identity as a poet. Chapter 3 explores the concept of history underlying
Tynianov’s interpretation of the characters and events and the historiographical practices he
employed in his analyses of the factors that shaped Pushkin’s own historical thinking. Chapter
4 investigates Tynianov’s scepticism about Abram Gannibal’s and A. Pushkin’s mythopoeia
which reveals itself in Tynianov’s subversively ironical and playful use of myth in both novels.
The Conclusion assesses Tynianov’s contribution to the 20th century fictional Pushkiniana and
reflects on his innovative transgeneric historical novel which broke the normative restrictions
of the genre, elevated it to the level of ‘serious’ literature and made it conducive to stylistic
experimentation.
2011-01-01T00:00:00ZRush, AnnaThis thesis is the first extensive study devoted to the generic originality of Iurii Tynianov’s
representation of Pushkin in his two historical novels, Pushkin (1935-1943) and the abandoned
The Gannibals (1932). Chapter 1 contextualises Tynianov’s contribution to the current debates
on the novel’s demise, ‘large’ form and the worthy protagonist. The conditions giving rise to
contemporary interest in the genres of biography and the historical novel are delineated and the
critical issues surrounding these are examined; Tynianov’s concern to secularise the rigid
monolith of an all but sanctified ‘state-sponsored Pushkin’ and the difficulties of the task are
also reviewed. Chapter 2 shifts the examination of Pushkin as a historical novel to its study
within the generic framework of the Bildungs, Erziehungs and Künstlerromane with their
particular problematics which allowed Tynianov to grapple with a cluster of moral,
philosophical and educational issues, and to explore the formative influences on the
protagonist’s identity as a poet. Chapter 3 explores the concept of history underlying
Tynianov’s interpretation of the characters and events and the historiographical practices he
employed in his analyses of the factors that shaped Pushkin’s own historical thinking. Chapter
4 investigates Tynianov’s scepticism about Abram Gannibal’s and A. Pushkin’s mythopoeia
which reveals itself in Tynianov’s subversively ironical and playful use of myth in both novels.
The Conclusion assesses Tynianov’s contribution to the 20th century fictional Pushkiniana and
reflects on his innovative transgeneric historical novel which broke the normative restrictions
of the genre, elevated it to the level of ‘serious’ literature and made it conducive to stylistic
experimentation.The 'pronunciamiento' in Yucatán : from independence to independence (1821-1840)Ali, Sharahttp://hdl.handle.net/10023/16932017-03-04T00:15:33Z2011-06-24T00:00:00ZUnique to nineteenth-century Spain and Central America, the pronunciamiento can be interpreted as an act of insubordination against ruling authorities, which included a written document with a list of complaints or demands. The practice was almost always carried out by members of the army, but usually involved heavy participation by political and civilian sectors of society as well. The pronunciamiento more often than not contained a threat of military violence if the grievances of the pronunciados were not listened to; as a result, it carried with it the implicit consequence of armed revolt.
The pronunciamiento was responsible for major political changes in early nineteenth-century Mexico and Yucatán, and was also one of the most powerful forces of political and societal destabilisation during this period. Indeed, the pronunciamiento was responsible for the establishment of federalist and centralist systems, changes of constitutions, and constant overthrows of presidents. This was also true on a smaller scale in Yucatán, as the pronunciamiento was not only used to depose governors and administrations, but was the key negotiatory mechanism between the Yucatecan and Mexican administrations; yucatecos resorted to the pronunciamiento to realise their secessions from and reunifications to Mexico throughout the early nineteenth century.
The aim of this thesis is to expose the dynamic of the Yucatecan pronunciamiento. It will challenge the present depiction of the pronunciamiento as military exercise of destabilization, and will instead concentrate on exposing it as a highly intricate process of political representation and negotiation, at both local and national levels. This will not only contribute toward a greater understanding of pronunciamiento culture on a local and more general scale, but will also reveal a more comprehensive analysis of the socio-political and economic circumstances of nineteenth-century Yucatán. This in turn will aid in re-defining early nineteenth-century Mexico, questioning its traditional depiction as an age of “chaos”, and instead exposing it as one dominated by political and ideological forces and factions, who used the pronunciamiento to express their beliefs and to negotiate for change.
2011-06-24T00:00:00ZAli, SharaUnique to nineteenth-century Spain and Central America, the pronunciamiento can be interpreted as an act of insubordination against ruling authorities, which included a written document with a list of complaints or demands. The practice was almost always carried out by members of the army, but usually involved heavy participation by political and civilian sectors of society as well. The pronunciamiento more often than not contained a threat of military violence if the grievances of the pronunciados were not listened to; as a result, it carried with it the implicit consequence of armed revolt.
The pronunciamiento was responsible for major political changes in early nineteenth-century Mexico and Yucatán, and was also one of the most powerful forces of political and societal destabilisation during this period. Indeed, the pronunciamiento was responsible for the establishment of federalist and centralist systems, changes of constitutions, and constant overthrows of presidents. This was also true on a smaller scale in Yucatán, as the pronunciamiento was not only used to depose governors and administrations, but was the key negotiatory mechanism between the Yucatecan and Mexican administrations; yucatecos resorted to the pronunciamiento to realise their secessions from and reunifications to Mexico throughout the early nineteenth century.
The aim of this thesis is to expose the dynamic of the Yucatecan pronunciamiento. It will challenge the present depiction of the pronunciamiento as military exercise of destabilization, and will instead concentrate on exposing it as a highly intricate process of political representation and negotiation, at both local and national levels. This will not only contribute toward a greater understanding of pronunciamiento culture on a local and more general scale, but will also reveal a more comprehensive analysis of the socio-political and economic circumstances of nineteenth-century Yucatán. This in turn will aid in re-defining early nineteenth-century Mexico, questioning its traditional depiction as an age of “chaos”, and instead exposing it as one dominated by political and ideological forces and factions, who used the pronunciamiento to express their beliefs and to negotiate for change.Joseph Welsh : A British Santanista (Mexico, 1832)Fowler, Williamhttp://hdl.handle.net/10023/15072018-01-07T01:30:25Z2004-02-01T00:00:00ZJoseph Welsh was the British Vice Consul in the port of Veracruz at the time of the uprising of 1832 by General Antonio Lopez de Santa Anna against the government of Anastasio Bustamante. Contravening the orders of his superiors, who reiterated the view that it was his obligation to observe the strictest neutrality in the conflict and not interfere in Mexican politics, Welsh found himself supporting Santa Anna and the rebels. As a result, at the end of March, Bustamante's administration demanded that he be removed from office. The British Minister Plenipotentiary, Richard Pakenham, acquiesced. This article provides a narrative of the events that led to Welsh's forced resignation and explores what they tell us about British diplomacy in Mexico during the early national period. It also analyses Welsh's understanding of the revolt and his views on Santa Anna, providing some insights, from a generally ignored British perspective,(1) into Santa Anna's notorious appeal and politico-military measures.
2004-02-01T00:00:00ZFowler, WilliamJoseph Welsh was the British Vice Consul in the port of Veracruz at the time of the uprising of 1832 by General Antonio Lopez de Santa Anna against the government of Anastasio Bustamante. Contravening the orders of his superiors, who reiterated the view that it was his obligation to observe the strictest neutrality in the conflict and not interfere in Mexican politics, Welsh found himself supporting Santa Anna and the rebels. As a result, at the end of March, Bustamante's administration demanded that he be removed from office. The British Minister Plenipotentiary, Richard Pakenham, acquiesced. This article provides a narrative of the events that led to Welsh's forced resignation and explores what they tell us about British diplomacy in Mexico during the early national period. It also analyses Welsh's understanding of the revolt and his views on Santa Anna, providing some insights, from a generally ignored British perspective,(1) into Santa Anna's notorious appeal and politico-military measures.La crítica de Dionisio Gamallo Fierros sobre José Alonso y TrellesSan Roman, Gustavohttp://hdl.handle.net/10023/12772017-12-31T00:37:55Z2010-01-01T00:00:00Z2010-01-01T00:00:00ZSan Roman, GustavoVincente Fernández, de Lourenzá a MeloSan Roman, Gustavohttp://hdl.handle.net/10023/12762017-12-31T00:37:56Z2010-01-01T00:00:00Z2010-01-01T00:00:00ZSan Roman, GustavoIntroducciónSan Roman, Gustavohttp://hdl.handle.net/10023/12592017-12-31T00:37:55Z2010-01-01T00:00:00Z2010-01-01T00:00:00ZSan Roman, GustavoOs vínculos culturais Galicia-Uruguay. José Alonso y Trelles / Juana de Ibarbourou : Actas do congreso celebrado en Ribadeo e Lourenzá, 14, 15 e 16 de setembro de 2007http://hdl.handle.net/10023/12042017-12-31T00:40:41Z2010-01-01T00:00:00ZThe edited book of a conference on the cultural links between Uruguay and Galicia. It consists of three main sections: on José Alonso y Trelles, born in Ribadeo in 1857 who emigrated to Uruguay and became a gaucho poet known as El Viejo Pancho; on Juana de Ibarbourou, Uruguayan poet (1892-1979), daughter of Vicente Fernandez, born in Lourenza in 1853 and also emigrant to Uruguay; and other literary and historical connections (Uruguay in Galician literature; Galicians in Uruguayan literature; critical work on Gustavo Adolfo Becquer by a Galician and a Uruguayan; aspects of the history of Galician emigration to Uruguay). Contains 36 photographs of documents related to both writers.
2010-01-01T00:00:00ZThe edited book of a conference on the cultural links between Uruguay and Galicia. It consists of three main sections: on José Alonso y Trelles, born in Ribadeo in 1857 who emigrated to Uruguay and became a gaucho poet known as El Viejo Pancho; on Juana de Ibarbourou, Uruguayan poet (1892-1979), daughter of Vicente Fernandez, born in Lourenza in 1853 and also emigrant to Uruguay; and other literary and historical connections (Uruguay in Galician literature; Galicians in Uruguayan literature; critical work on Gustavo Adolfo Becquer by a Galician and a Uruguayan; aspects of the history of Galician emigration to Uruguay). Contains 36 photographs of documents related to both writers.Perspectives of the River Plate around the time of Rosas : an analysis based upon the personal correspondence, private memoirs and published accounts of British settlers, as well as works by creole authorsStewart, Iain A Dhttp://hdl.handle.net/10023/9922016-07-29T14:23:13Z1996-01-01T00:00:00ZThis thesis draws inspiration from the emergence of cultural studies as an academic
pursuit, in addition to the current renewal of interest in the relationship between
literary works and their socio-cultural milieux, to bring together an assortment of
textual traces pertaining to the River Plate around the era of Juan Manuel de Rosas,
governor of Buenos Aires and de facto dictator of Argentina for most of the period
1829-1852. The main texts analysed range from private documents relating to two
Scottish settler families, through accounts published by British citizens with first-hand
knowledge of the region (Un inglés, Cinco años en Buenos Aires and
Beaumont, Travels in Buenos Ayres and the Adjacent Provinces), to three influential
pieces of early Argentinian literature (Echeverria's El matadero, Mármol's Amalia
and Sarmiento's Facundo). One justification of this apparently eclectic approach lies
in the prominence accorded to the incomer in the thought of liberal Platine
intellectuals, a concern evinced in their literary production.
The methodology involves examining the representation of certain
fundamental topics across this range of written artefacts, observing frequent points of
thematic convergence amongst the various texts. In this fashion, I construct an image
of the River Plate region around the Rosas period, whilst also appraising the degree
to which early British settlers matched the idealized notion of the immigrant present
in liberal creole writings.
The study is divided into four main chapters, supplemented by an
introduction, conclusion and appendix. The first chapter summarizes the historical
context of the young Platine republics; the second deals with the themes of society,
community and family, the third focuses upon religion; the fourth considers
perspectives of politics, dictatorship and civil war. The appendix consists of an
unpublished settler autobiography, a remarkable account of the tribulations faced on
a daily basis in the developing Argentina.
1996-01-01T00:00:00ZStewart, Iain A DThis thesis draws inspiration from the emergence of cultural studies as an academic
pursuit, in addition to the current renewal of interest in the relationship between
literary works and their socio-cultural milieux, to bring together an assortment of
textual traces pertaining to the River Plate around the era of Juan Manuel de Rosas,
governor of Buenos Aires and de facto dictator of Argentina for most of the period
1829-1852. The main texts analysed range from private documents relating to two
Scottish settler families, through accounts published by British citizens with first-hand
knowledge of the region (Un inglés, Cinco años en Buenos Aires and
Beaumont, Travels in Buenos Ayres and the Adjacent Provinces), to three influential
pieces of early Argentinian literature (Echeverria's El matadero, Mármol's Amalia
and Sarmiento's Facundo). One justification of this apparently eclectic approach lies
in the prominence accorded to the incomer in the thought of liberal Platine
intellectuals, a concern evinced in their literary production.
The methodology involves examining the representation of certain
fundamental topics across this range of written artefacts, observing frequent points of
thematic convergence amongst the various texts. In this fashion, I construct an image
of the River Plate region around the Rosas period, whilst also appraising the degree
to which early British settlers matched the idealized notion of the immigrant present
in liberal creole writings.
The study is divided into four main chapters, supplemented by an
introduction, conclusion and appendix. The first chapter summarizes the historical
context of the young Platine republics; the second deals with the themes of society,
community and family, the third focuses upon religion; the fourth considers
perspectives of politics, dictatorship and civil war. The appendix consists of an
unpublished settler autobiography, a remarkable account of the tribulations faced on
a daily basis in the developing Argentina.The theme and poetic function of space in Theodor Fontane's worksWhite, Michael Jameshttp://hdl.handle.net/10023/9692018-01-10T00:16:22Z2010-06-01T00:00:00ZThis thesis proposes a new view of space in Theodor Fontane’s writing as both a mode of literary expression and an object of literary inquiry: space serves a poetic function and is a thematic concern. The research draws on theories of literary space which focus on spatial structures and topographies, as well as those which provide critical tools for analysing individual passages of description, especially focalisation, which elucidates the influence of the viewing figure in the text. Significantly, the subjective experience of a perceptive observer is central to Fontane’s conception of aesthetic processes, and as a result, an analysis of spatial representation often uncovers reflexive discourses on art, its function and value.
On the basis of this insight, this study provides new readings of a range of texts, including less well-established and non-fictional works, as well as recognised masterpieces. In Fontane’s local travelogues, the Wanderungen, the poetic function of space is rare, while many passages reflect on the environment’s potential significance. The early novels explore spatial representation as a means of constructing textual symbolism. Spatial representation in Vor dem Sturm functions as a strategy of relativisation; in Schach von Wuthenow and Graf Petöfy topographies and pregnant descriptions serve as commentaries on characters’ levels of awareness. The mature novels Irrungen Wirrungen and Unwiederbringlich explore the sources and practical implications of reading objects in the world as signs. Space retains its formal role, but the represented figural experience of the novels’ worlds becomes a vehicle for reflexive analysis of the world’s perceived meanings. Similarly, in Der Stechlin different types of relationships with exterior reality are expressed spatially, and, as elsewhere, the capacity for aesthetic appreciation is represented positively. This entails and indeed produces critical distance towards modernity: isolated Stechlin is a locus of poetry, a testament to literature’s importance and vitality.
2010-06-01T00:00:00ZWhite, Michael JamesThis thesis proposes a new view of space in Theodor Fontane’s writing as both a mode of literary expression and an object of literary inquiry: space serves a poetic function and is a thematic concern. The research draws on theories of literary space which focus on spatial structures and topographies, as well as those which provide critical tools for analysing individual passages of description, especially focalisation, which elucidates the influence of the viewing figure in the text. Significantly, the subjective experience of a perceptive observer is central to Fontane’s conception of aesthetic processes, and as a result, an analysis of spatial representation often uncovers reflexive discourses on art, its function and value.
On the basis of this insight, this study provides new readings of a range of texts, including less well-established and non-fictional works, as well as recognised masterpieces. In Fontane’s local travelogues, the Wanderungen, the poetic function of space is rare, while many passages reflect on the environment’s potential significance. The early novels explore spatial representation as a means of constructing textual symbolism. Spatial representation in Vor dem Sturm functions as a strategy of relativisation; in Schach von Wuthenow and Graf Petöfy topographies and pregnant descriptions serve as commentaries on characters’ levels of awareness. The mature novels Irrungen Wirrungen and Unwiederbringlich explore the sources and practical implications of reading objects in the world as signs. Space retains its formal role, but the represented figural experience of the novels’ worlds becomes a vehicle for reflexive analysis of the world’s perceived meanings. Similarly, in Der Stechlin different types of relationships with exterior reality are expressed spatially, and, as elsewhere, the capacity for aesthetic appreciation is represented positively. This entails and indeed produces critical distance towards modernity: isolated Stechlin is a locus of poetry, a testament to literature’s importance and vitality.The Arabic verb : form and meaning in the vowel-lengthening patternsDanks, Warwickhttp://hdl.handle.net/10023/9612016-03-28T10:52:59Z2010-06-24T00:00:00ZThe research presented in this dissertation adopts an empirical Saussurean structuralist approach to elucidating the true meaning of the verb patterns characterised formally by vowel lengthening in Modern Standard Arabic (MSA).
The verbal system as a whole is examined in order to place the patterns of interest (III and VI) in context, the complexities of Arabic verbal morphology are explored and the challenges revealed by previous attempts to draw links between form and meaning are presented. An exhaustive dictionary survey is employed to provide quantifiable data to empirically test the largely accepted view that the vowel lengthening patterns have mutual/reciprocal meaning. Finding the traditional explanation inadequate and prone to too many exceptions, alternative commonalities of meaning are similarly investigated. Whilst confirming the detransitivising function of the ta- prefix which derives pattern VI from pattern III, analysis of valency data also precludes transitivity as a viable explanation for pattern III meaning compared with the base form.
Examination of formally similar morphology in certain nouns leads to the intuitive possibility that vowel lengthening has aspectual meaning. A model of linguistic aspect is investigated for its applicability to MSA and used to isolate the aspectual feature common to the majority of pattern III and pattern VI verbs, which is determined to be atelicity. A set of verbs which appear to be exceptional in that they are not attributable to atelic aspectual categories is found to be characterised by inceptive meaning and a three-phase model of event time structure is developed to include an inceptive verbal category, demonstrating that these verbs too are atelic.
Thus the form-meaning relationship which is discovered is that the vowel lengthening verbal patterns in Modern Standard Arabic have atelic aspectual meaning.
Also published: Amsterdam : John Benjamins, 2011 (http://dx.doi.org/10.1075/sfsl.63)
2010-06-24T00:00:00ZDanks, WarwickThe research presented in this dissertation adopts an empirical Saussurean structuralist approach to elucidating the true meaning of the verb patterns characterised formally by vowel lengthening in Modern Standard Arabic (MSA).
The verbal system as a whole is examined in order to place the patterns of interest (III and VI) in context, the complexities of Arabic verbal morphology are explored and the challenges revealed by previous attempts to draw links between form and meaning are presented. An exhaustive dictionary survey is employed to provide quantifiable data to empirically test the largely accepted view that the vowel lengthening patterns have mutual/reciprocal meaning. Finding the traditional explanation inadequate and prone to too many exceptions, alternative commonalities of meaning are similarly investigated. Whilst confirming the detransitivising function of the ta- prefix which derives pattern VI from pattern III, analysis of valency data also precludes transitivity as a viable explanation for pattern III meaning compared with the base form.
Examination of formally similar morphology in certain nouns leads to the intuitive possibility that vowel lengthening has aspectual meaning. A model of linguistic aspect is investigated for its applicability to MSA and used to isolate the aspectual feature common to the majority of pattern III and pattern VI verbs, which is determined to be atelicity. A set of verbs which appear to be exceptional in that they are not attributable to atelic aspectual categories is found to be characterised by inceptive meaning and a three-phase model of event time structure is developed to include an inceptive verbal category, demonstrating that these verbs too are atelic.
Thus the form-meaning relationship which is discovered is that the vowel lengthening verbal patterns in Modern Standard Arabic have atelic aspectual meaning.'Pour garder l'impossible intact' : the poetry of Heather DohollauO'Connor, Clémencehttp://hdl.handle.net/10023/7912016-09-20T14:31:05Z2009-11-30T00:00:00ZThis dissertation offers the first extended study of the work of the Welsh-French poet Heather Dohollau, whose substantial œuvre in French, published since 1974, has recently received international critical recognition. My thesis centres on the idea of traversée, which originates in Dohollau’s experience of exiles, returns and bilingualism. My chapters elucidate five interconnected themes which all relate to that overarching paradigm. Chapter 1 focuses on Dohollau’s trajectories as reflected in poems on the memory of place, concentrating on South Wales and the island. The quest for place is also a quest for the past, which is handled as an after-image capable of upwelling into the present. Chapter 2 investigates the visual-verbal bilingualism towards which Dohollau’s texts on specific artworks (or ekphrastic texts) seem to strive. Dohollau revitalizes the ekphrastic tradition and challenges its conventional connotations of power struggle (W. J. T. Mitchell) in favour of a poetics of hospitality. Chapter 3 is dedicated to Dohollau’s ethos and practice of slowness. It undertakes a close-reading analysis of her syntactic and sound-related rhythms, connecting them with Derrida’s différance. The idea of poetry as a foreign language is discussed in chapter 4: Dohollau’s adoption of French as her main poetic language in the mid-1960s, her handling of motherhood and daughterhood, and her quest for a poetics of mourning and fidelity are examined in their interrelations. The concluding chapter explores the boundaries between language and the unsaid. Dohollau has been uniquely placed to engage with postwar reassessments of language and its limits (Derrida, Heidegger, Blanchot), poised as she is between languages and media. As her poems show, such limits constitute a poetic resource in their own right. Her carefully cultivated liminal stance has given her important insights into the creative process as a passage into words from an unwritten, yet not utterly inchoate other of the poem.
2009-11-30T00:00:00ZO'Connor, ClémenceThis dissertation offers the first extended study of the work of the Welsh-French poet Heather Dohollau, whose substantial œuvre in French, published since 1974, has recently received international critical recognition. My thesis centres on the idea of traversée, which originates in Dohollau’s experience of exiles, returns and bilingualism. My chapters elucidate five interconnected themes which all relate to that overarching paradigm. Chapter 1 focuses on Dohollau’s trajectories as reflected in poems on the memory of place, concentrating on South Wales and the island. The quest for place is also a quest for the past, which is handled as an after-image capable of upwelling into the present. Chapter 2 investigates the visual-verbal bilingualism towards which Dohollau’s texts on specific artworks (or ekphrastic texts) seem to strive. Dohollau revitalizes the ekphrastic tradition and challenges its conventional connotations of power struggle (W. J. T. Mitchell) in favour of a poetics of hospitality. Chapter 3 is dedicated to Dohollau’s ethos and practice of slowness. It undertakes a close-reading analysis of her syntactic and sound-related rhythms, connecting them with Derrida’s différance. The idea of poetry as a foreign language is discussed in chapter 4: Dohollau’s adoption of French as her main poetic language in the mid-1960s, her handling of motherhood and daughterhood, and her quest for a poetics of mourning and fidelity are examined in their interrelations. The concluding chapter explores the boundaries between language and the unsaid. Dohollau has been uniquely placed to engage with postwar reassessments of language and its limits (Derrida, Heidegger, Blanchot), poised as she is between languages and media. As her poems show, such limits constitute a poetic resource in their own right. Her carefully cultivated liminal stance has given her important insights into the creative process as a passage into words from an unwritten, yet not utterly inchoate other of the poem.The formation of a European identity through a transnational public sphere? The case of three Western European cultural journals, 1989-2006Hauswedell, Tessa C.http://hdl.handle.net/10023/7892016-03-28T12:40:19Z2009-11-30T00:00:00ZThis thesis analyses processes of discursive European identity formation in three cultural journals: Esprit, from France, the British New Left Review and the German Merkur during the time periods 1989-92, and, a decade later, during 2003-06.
The theoretical framework which the thesis brings to bear on this analysis is that of the European Public Sphere. This model builds on Jürgen Habermas’s original model of a “public sphere”, and alleges that a sphere of common debate about issues of European concern can lead to a more defined and integrated sense of a European identity which is widely perceived as vague and inchoate. The relevancy of the public sphere model and its connection to the larger debate about European identity, especially since 1989, are discussed in the first part of the thesis.
The second part provides a comparative analysis of the main European debates in the journals during the respective time periods. It outlines the mechanisms by which identity is expressed and assesses when, and to what extent, shared notions of European identity emerge. The analysis finds that identity formation does not occur through a developmental, gradual convergence of views as the European public sphere model envisages. Rather, it is brought about in much more haphazard back-and-forth movements. Moreover, shared notions of European identity between all the journals only arise in moments of perceived crises. Such crises are identified as the most salient factor which galvanizes expressions of a common, shared sense of European identity across national boundaries and ideological cleavages.
The thesis concludes that the model of the EPS is too dependent on a partial view of how identity formation occurs and should thus adopt a more nuanced understanding about the complex factors that are at play in these processes. For the principled attempt to circumscribe identity formation as the outcome of communicative processes alone is likely to be thwarted by external events.
2009-11-30T00:00:00ZHauswedell, Tessa C.This thesis analyses processes of discursive European identity formation in three cultural journals: Esprit, from France, the British New Left Review and the German Merkur during the time periods 1989-92, and, a decade later, during 2003-06.
The theoretical framework which the thesis brings to bear on this analysis is that of the European Public Sphere. This model builds on Jürgen Habermas’s original model of a “public sphere”, and alleges that a sphere of common debate about issues of European concern can lead to a more defined and integrated sense of a European identity which is widely perceived as vague and inchoate. The relevancy of the public sphere model and its connection to the larger debate about European identity, especially since 1989, are discussed in the first part of the thesis.
The second part provides a comparative analysis of the main European debates in the journals during the respective time periods. It outlines the mechanisms by which identity is expressed and assesses when, and to what extent, shared notions of European identity emerge. The analysis finds that identity formation does not occur through a developmental, gradual convergence of views as the European public sphere model envisages. Rather, it is brought about in much more haphazard back-and-forth movements. Moreover, shared notions of European identity between all the journals only arise in moments of perceived crises. Such crises are identified as the most salient factor which galvanizes expressions of a common, shared sense of European identity across national boundaries and ideological cleavages.
The thesis concludes that the model of the EPS is too dependent on a partial view of how identity formation occurs and should thus adopt a more nuanced understanding about the complex factors that are at play in these processes. For the principled attempt to circumscribe identity formation as the outcome of communicative processes alone is likely to be thwarted by external events.Translating Brecht : versions of "Mutter Courage und ihre Kinder" for the British stageWilliams, Katherine J.http://hdl.handle.net/10023/7612016-03-28T10:57:26Z2009-11-30T00:00:00ZThis study analyses five British translations of Bertolt Brecht's 'Mutter Courage und ihre Kinder'. Two of these translations were written by speakers of German, and three by well-known British playwrights with no knowledge of the source text language. Four have been produced in mainstream British theatres in the past twenty-five years. The study applies translation studies methodology to a textual analysis which focuses on the translation of techniques of linguistic "Verfremdung", as well as linguistic expression of the comedy and of the political dimension in the work. It thus closes the gap in current Brecht research in examining the importance of his idiosyncratic use of language to the translation and reception of his work in the UK. The study assesses the ways in which the translator and director are influenced by Brecht's legacy in the UK and in turn, what image of Brecht they mediate through the production on stage. To this end, the study throws light on the formation of Brecht's problematic reputation in the UK, and it also highlights the social and political circumstances in early twentieth century Germany which prompted Brecht to develop his theory of an epic theatre.
The focus on a linguistic examination allows the translator's contribution to the production process to be isolated. Together with an investigation of the reception of each performance text, this in turn facilitates a more accurate assessment of the translator and director's respective influence in the process of transforming a foreign-language text onto a local stage. The analysis also sheds light on the different approaches taken by speakers of German, and playwrights creating an English version from a literal translation. It pinpoints losses in translation and adaptation, and suggests how future versions may avoid these.
2009-11-30T00:00:00ZWilliams, Katherine J.This study analyses five British translations of Bertolt Brecht's 'Mutter Courage und ihre Kinder'. Two of these translations were written by speakers of German, and three by well-known British playwrights with no knowledge of the source text language. Four have been produced in mainstream British theatres in the past twenty-five years. The study applies translation studies methodology to a textual analysis which focuses on the translation of techniques of linguistic "Verfremdung", as well as linguistic expression of the comedy and of the political dimension in the work. It thus closes the gap in current Brecht research in examining the importance of his idiosyncratic use of language to the translation and reception of his work in the UK. The study assesses the ways in which the translator and director are influenced by Brecht's legacy in the UK and in turn, what image of Brecht they mediate through the production on stage. To this end, the study throws light on the formation of Brecht's problematic reputation in the UK, and it also highlights the social and political circumstances in early twentieth century Germany which prompted Brecht to develop his theory of an epic theatre.
The focus on a linguistic examination allows the translator's contribution to the production process to be isolated. Together with an investigation of the reception of each performance text, this in turn facilitates a more accurate assessment of the translator and director's respective influence in the process of transforming a foreign-language text onto a local stage. The analysis also sheds light on the different approaches taken by speakers of German, and playwrights creating an English version from a literal translation. It pinpoints losses in translation and adaptation, and suggests how future versions may avoid these.A diachronic study into the distributions of two Italo-Romance synthetic conditional formsParkinson, Jennie K.http://hdl.handle.net/10023/7372016-03-28T10:50:25Z2009-06-23T00:00:00ZTwo distinct conditional paradigms are available to speakers of Italian, derived from the Latin periphrases cantare habui/cantare habebam. The aim of this thesis is to describe and explain their patterns of attestation in the earliest northern Italian and Tuscan texts, which date from between 1200 and 1400.
Textual analysis showed that while the cantare habui periphrasis was native to both areas, the use of the cantare habebam periphrasis differed in the northern and central dialects. In the northern dialects, the cantare habebam periphrasis was attested in all genres over the whole time period, whereas in the Tuscan dialects it only appeared in literary genres. Moreover, although the northern texts attested both periphrases consistently over time in every genre, only Tuscan poetry followed this pattern. Other genres attested reflexes of the cantare habebam periphrasis for short periods in the fourteenth century. These results suggest that different influences resulted in different patterns of conditional use in the two areas.
This thesis postulates that in the northern Italo-Romance dialects the cantare habebam periphrasis was introduced through the proximity to, and influence of, Provençal. Although the use of reflexes of cantare habebam was reinforced in the north by the Sicilian school of poets, the dual nature of the sources meant that it was also retained in prose, and thence into modern dialect use. In contrast, reflexes of the cantare habebam periphrasis were introduced into central Italy through the Sicilian school alone. Although it appeared in prose texts, this was a sporadic phenomenon, resulting from imitation of the influential poetic texts. Because there was no prose source for reflexes of the cantare habebam periphrasis, it did not enter non-literary genres and quickly disappeared from literary prose genres. The cantare habebam periphrasis eventually disappeared entirely from Tuscan poetry as well, and is not attested at all in the modern central dialects.
2009-06-23T00:00:00ZParkinson, Jennie K.Two distinct conditional paradigms are available to speakers of Italian, derived from the Latin periphrases cantare habui/cantare habebam. The aim of this thesis is to describe and explain their patterns of attestation in the earliest northern Italian and Tuscan texts, which date from between 1200 and 1400.
Textual analysis showed that while the cantare habui periphrasis was native to both areas, the use of the cantare habebam periphrasis differed in the northern and central dialects. In the northern dialects, the cantare habebam periphrasis was attested in all genres over the whole time period, whereas in the Tuscan dialects it only appeared in literary genres. Moreover, although the northern texts attested both periphrases consistently over time in every genre, only Tuscan poetry followed this pattern. Other genres attested reflexes of the cantare habebam periphrasis for short periods in the fourteenth century. These results suggest that different influences resulted in different patterns of conditional use in the two areas.
This thesis postulates that in the northern Italo-Romance dialects the cantare habebam periphrasis was introduced through the proximity to, and influence of, Provençal. Although the use of reflexes of cantare habebam was reinforced in the north by the Sicilian school of poets, the dual nature of the sources meant that it was also retained in prose, and thence into modern dialect use. In contrast, reflexes of the cantare habebam periphrasis were introduced into central Italy through the Sicilian school alone. Although it appeared in prose texts, this was a sporadic phenomenon, resulting from imitation of the influential poetic texts. Because there was no prose source for reflexes of the cantare habebam periphrasis, it did not enter non-literary genres and quickly disappeared from literary prose genres. The cantare habebam periphrasis eventually disappeared entirely from Tuscan poetry as well, and is not attested at all in the modern central dialects.The specificity of Simenon: on translating 'Maigret'Taylor, Judith Louisehttp://hdl.handle.net/10023/7132016-10-20T08:56:11Z2009-06-23T00:00:00ZThe project examines how German- and English-speaking translators of selected
Maigret novels by the Belgian crime writer Georges Simenon have dealt with cultural
and linguistic specificity, with a view to shedding light on how culture and language
translate. Following a survey of different theories of translation, an integrated theory
is applied in order to highlight what Simenon’s translators have retained and lost from
three selected source texts: Le Charretier de la Providence (1931), Les Mémoires de
Maigret (1951) and Maigret et les braves gens (1961). The examination of issues of
linguistic and cultural specificity is facilitated by application of an integrated theory
of translation coupled with the methodology devised by Hervey, Higgins and
Loughridge (1992, 1995 and 2002). In addition, consideration of paradigms of
detective fiction across the three cultures involved, and Simenon’s biography and
wider oeuvre, help elucidate the salient features of the selected source texts. In view of
the translators’ decisions, strategies for minimising various types of translation loss
are presented. While other studies of translation theory have examined literary and
technical texts, this study breaks new ground by focussing specifically on the
comparative analysis of detective fiction in translation.
2009-06-23T00:00:00ZTaylor, Judith LouiseThe project examines how German- and English-speaking translators of selected
Maigret novels by the Belgian crime writer Georges Simenon have dealt with cultural
and linguistic specificity, with a view to shedding light on how culture and language
translate. Following a survey of different theories of translation, an integrated theory
is applied in order to highlight what Simenon’s translators have retained and lost from
three selected source texts: Le Charretier de la Providence (1931), Les Mémoires de
Maigret (1951) and Maigret et les braves gens (1961). The examination of issues of
linguistic and cultural specificity is facilitated by application of an integrated theory
of translation coupled with the methodology devised by Hervey, Higgins and
Loughridge (1992, 1995 and 2002). In addition, consideration of paradigms of
detective fiction across the three cultures involved, and Simenon’s biography and
wider oeuvre, help elucidate the salient features of the selected source texts. In view of
the translators’ decisions, strategies for minimising various types of translation loss
are presented. While other studies of translation theory have examined literary and
technical texts, this study breaks new ground by focussing specifically on the
comparative analysis of detective fiction in translation.El final de El astilleroSan Román, Gustavohttp://hdl.handle.net/10023/6722016-03-28T10:49:49Z2003-01-01T00:00:00ZThe novel El astillero (Buenos Aires 1961), by Juan Carlos Onetti, provides two alternative endings, which have inspired a number of interpretations. The present article provides a reading based on the tension in the novel between the two poles of reality and illusion which intermittently draw the protagonist, Larsen. The reading takes into account the plot of El astillero itself, and also moves beyond this particular novel into other texts in Onetti's Santa Maria cycle where Larsen figures. It is proposed that the ambiguous ending projects a never-ending pendular movement between the poles mentioned, and suggests that Larsen (and Onetti) are unwilling to give up on illusion as a way out of the constraints of reality.
2003-01-01T00:00:00ZSan Román, GustavoThe novel El astillero (Buenos Aires 1961), by Juan Carlos Onetti, provides two alternative endings, which have inspired a number of interpretations. The present article provides a reading based on the tension in the novel between the two poles of reality and illusion which intermittently draw the protagonist, Larsen. The reading takes into account the plot of El astillero itself, and also moves beyond this particular novel into other texts in Onetti's Santa Maria cycle where Larsen figures. It is proposed that the ambiguous ending projects a never-ending pendular movement between the poles mentioned, and suggests that Larsen (and Onetti) are unwilling to give up on illusion as a way out of the constraints of reality.'Le vrai recueil des Sarcelles' of Nicolas Jouin : an edition with a linguistic study of the depicted sociolect and its Parisian connectionsRandell, Elizabethhttp://hdl.handle.net/10023/5452016-03-28T10:47:58Z2008-11-27T00:00:00ZThis thesis aims to explore an aspect of the history of vernacular speech through analysis of some eighteenth century verse texts. These satirical anti-Jesuit pamphlets by Nicolas Jouin, known as the 'Sarcelades', were collected posthumously in 'Le Vrai Recueil des Sarcelles' of 1764. The texts purport to be in the patois of the peasants of Sarcelles and show features which may be paralleled in the vernacular speech of Paris and elsewhere, and even correspond with features of contemporary colloquial French.
The study may appeal to French historical sociolinguists interested in reconstructing spoken language of the past, and particularly in the history of vernacular speech of Paris since the Middle Ages through to the eighteenth century, in the context of the development of urban dialects.
In order to set the scene for a linguistic description of Jouin’s work the limited biographical information available was collated. Then a period of bibliographical research led to acquisition of copies of the texts which were to be studied in order to identify and examine their non-standard linguistic features.
Firstly the process of growth of urban dialects was discussed, and then the development of the Paris vernacular in particular. Then attention was turned to direct written evidence in the form of commentary and to a number of texts from the sixteenth to eighteenth centuries containing features of the Paris vernacular. These had already been analysed by certain historical linguists, although the texts in the 'Sarcelades' had hitherto only been briefly mentioned. However, here they are considered to be of sufficient interest to be examined more closely, although it had to be established whether Jouin’s texts containing a selection of non-standard features could be regarded as an accurate depiction of the Paris vernacular at the period. The non-standard phonetic, morphological, syntactic, and lexical features in the texts were therefore compared with findings in other texts by previous commentators.
Following these analyses it was noted to what extent the relative frequency of the variables correlates with the salience of certain features in popular speech in Paris at the period, as already observed in other texts by previous commentators, and it was concluded that in general established characteristics of the 'patois de Paris' at the period are to be found in the 'Sarcelades', even though there do remain certain features which do not appear to be generally attested elsewhere.
Nevertheless, despite reservations concerning the authenticity of some of the non-standard features employed by Jouin, by bringing attention to this little-known series of texts this study may help to claim a place for the Sarcelades amongst the corpus of texts which reflect aspects of the lower-class sociolect, the 'patois de Paris', at the period.
2008-11-27T00:00:00ZRandell, ElizabethThis thesis aims to explore an aspect of the history of vernacular speech through analysis of some eighteenth century verse texts. These satirical anti-Jesuit pamphlets by Nicolas Jouin, known as the 'Sarcelades', were collected posthumously in 'Le Vrai Recueil des Sarcelles' of 1764. The texts purport to be in the patois of the peasants of Sarcelles and show features which may be paralleled in the vernacular speech of Paris and elsewhere, and even correspond with features of contemporary colloquial French.
The study may appeal to French historical sociolinguists interested in reconstructing spoken language of the past, and particularly in the history of vernacular speech of Paris since the Middle Ages through to the eighteenth century, in the context of the development of urban dialects.
In order to set the scene for a linguistic description of Jouin’s work the limited biographical information available was collated. Then a period of bibliographical research led to acquisition of copies of the texts which were to be studied in order to identify and examine their non-standard linguistic features.
Firstly the process of growth of urban dialects was discussed, and then the development of the Paris vernacular in particular. Then attention was turned to direct written evidence in the form of commentary and to a number of texts from the sixteenth to eighteenth centuries containing features of the Paris vernacular. These had already been analysed by certain historical linguists, although the texts in the 'Sarcelades' had hitherto only been briefly mentioned. However, here they are considered to be of sufficient interest to be examined more closely, although it had to be established whether Jouin’s texts containing a selection of non-standard features could be regarded as an accurate depiction of the Paris vernacular at the period. The non-standard phonetic, morphological, syntactic, and lexical features in the texts were therefore compared with findings in other texts by previous commentators.
Following these analyses it was noted to what extent the relative frequency of the variables correlates with the salience of certain features in popular speech in Paris at the period, as already observed in other texts by previous commentators, and it was concluded that in general established characteristics of the 'patois de Paris' at the period are to be found in the 'Sarcelades', even though there do remain certain features which do not appear to be generally attested elsewhere.
Nevertheless, despite reservations concerning the authenticity of some of the non-standard features employed by Jouin, by bringing attention to this little-known series of texts this study may help to claim a place for the Sarcelades amongst the corpus of texts which reflect aspects of the lower-class sociolect, the 'patois de Paris', at the period.Self-definition through poetry in the work of Gloria Fuertes and Pilar Paz Pasamar in the period 1950-1970Ten Hacken, Hildehttp://hdl.handle.net/10023/4212016-03-28T10:41:45Z2007-11-30T00:00:00ZBased on a comparative method of enquiry, this thesis analyses the process of self-definition expressed in the work of Gloria Fuertes (Madrid, 1917-1998) and Pilar Paz Pasamar (Jerez de la Frontera, 1933) as individual alternatives to the collective ethos and literary practices promoted within the patriarchal society of Franco’s Spain. Recognizing the poets’ cultural and socio-political context as determining factors in their experiences as women and poets, and therefore in their outlook and poetics, this context and how it is reflected in their poetry provides the starting point (Chapter 1). Both poets acknowledge that writing poetry can provide them with a metaphorical space of freedom that enables them to develop their identity and explore their preoccupations. Therefore, their thoughts about poetry provide an important theme that occurs in the poetry of both (Chapter 2). Closely related to this is the link they establish between poetic inspiration and the divine, which in the case of Pilar Paz Pasamar leads to the attempt to use the special qualities of poetic language to refer to a universal truth that she is aware of and which transcends the capabilities of language, while Gloria Fuertes regards poetry as a divine gift that can provide solace and is ultimately able to improve the world (Chapter 3). The fourth chapter focuses on specific elements of the two poets’ work that reveal the distinctive mechanisms of self-construction they develop. The section on Fuertes considers humour as a survival strategy that enables the poet to reach out to her readership and emphasize her focus on the here and now, while the discussion on Paz’s work looks at how the use of sea imagery allows her to convey abstract experiences based on introspection. Thus, it is argued that their poetry reflects the different strategies the two women develop – based on integration in the case of Fuertes and a more separate position in the case of Paz – to define themselves in relation to their world.
2007-11-30T00:00:00ZTen Hacken, HildeBased on a comparative method of enquiry, this thesis analyses the process of self-definition expressed in the work of Gloria Fuertes (Madrid, 1917-1998) and Pilar Paz Pasamar (Jerez de la Frontera, 1933) as individual alternatives to the collective ethos and literary practices promoted within the patriarchal society of Franco’s Spain. Recognizing the poets’ cultural and socio-political context as determining factors in their experiences as women and poets, and therefore in their outlook and poetics, this context and how it is reflected in their poetry provides the starting point (Chapter 1). Both poets acknowledge that writing poetry can provide them with a metaphorical space of freedom that enables them to develop their identity and explore their preoccupations. Therefore, their thoughts about poetry provide an important theme that occurs in the poetry of both (Chapter 2). Closely related to this is the link they establish between poetic inspiration and the divine, which in the case of Pilar Paz Pasamar leads to the attempt to use the special qualities of poetic language to refer to a universal truth that she is aware of and which transcends the capabilities of language, while Gloria Fuertes regards poetry as a divine gift that can provide solace and is ultimately able to improve the world (Chapter 3). The fourth chapter focuses on specific elements of the two poets’ work that reveal the distinctive mechanisms of self-construction they develop. The section on Fuertes considers humour as a survival strategy that enables the poet to reach out to her readership and emphasize her focus on the here and now, while the discussion on Paz’s work looks at how the use of sea imagery allows her to convey abstract experiences based on introspection. Thus, it is argued that their poetry reflects the different strategies the two women develop – based on integration in the case of Fuertes and a more separate position in the case of Paz – to define themselves in relation to their world.Memory and exile in the poetry of Luis CernudaLogan, Aileen A.http://hdl.handle.net/10023/3432016-03-28T10:45:41Z2007-06-22T00:00:00ZLuis Cernuda (1902-1963) was exiled from Spain in 1938 due to the outbreak of the Spanish Civil War. He lived in Great Britain, America and Mexico and he never returned to his homeland. Until the mid-1960s, he was considered by the Spanish literary establishment to be an evasive and astringent poet. Since then, critics have recognised and praised the ethical quality and nature of his work and he is now considered to be one of the most profound and influential Spanish poets of the twentieth century. Despite the growing body of critical work on Cernuda, the salient role played by memory in his poetry has received little sustained critical attention. Critics have tended to stress the nostalgic and the evasive rather than the ethical and contemplative role played by memory in his work both before and after his departure from Spain. The objective of this thesis is to provide a more balanced view of the poet’s use of memory in his early and mature poetry. Rather than limiting his concept of memory to nostalgia for his youth or his homeland, it argues that he deploys memory as an instrument of self-analysis, self-discovery and self-criticism. The first chapter concentrates on his pre-exilic poetry in order to show that memory plays a fundamental role in his poetics prior to the experience of physical exile. The central body of the thesis examines the increasingly analytical and philosophical role played by memory in a selection of his mature prose and verse texts written outwith Spain.
2007-06-22T00:00:00ZLogan, Aileen A.Luis Cernuda (1902-1963) was exiled from Spain in 1938 due to the outbreak of the Spanish Civil War. He lived in Great Britain, America and Mexico and he never returned to his homeland. Until the mid-1960s, he was considered by the Spanish literary establishment to be an evasive and astringent poet. Since then, critics have recognised and praised the ethical quality and nature of his work and he is now considered to be one of the most profound and influential Spanish poets of the twentieth century. Despite the growing body of critical work on Cernuda, the salient role played by memory in his poetry has received little sustained critical attention. Critics have tended to stress the nostalgic and the evasive rather than the ethical and contemplative role played by memory in his work both before and after his departure from Spain. The objective of this thesis is to provide a more balanced view of the poet’s use of memory in his early and mature poetry. Rather than limiting his concept of memory to nostalgia for his youth or his homeland, it argues that he deploys memory as an instrument of self-analysis, self-discovery and self-criticism. The first chapter concentrates on his pre-exilic poetry in order to show that memory plays a fundamental role in his poetics prior to the experience of physical exile. The central body of the thesis examines the increasingly analytical and philosophical role played by memory in a selection of his mature prose and verse texts written outwith Spain.The role of history in the recent Mexican novel: a study of five historical novels by Elena Garro, Carlos Fuentes, Fernando del Paso, Paco Ignacio Taibo II and Rosa BeltranRafael, Laurahttp://hdl.handle.net/10023/3232016-03-28T10:39:55Z2007-06-22T00:00:00ZThis thesis sets out to investigate the development of the recent historical novel in Mexico by examining a corpus of five novels. Elena Garro’s 'Los recuerdos del porvenir' (1963) represents the final point of the novel of the Revolution and it is the link with the recent historical novel. Carlos Fuentes’ 'Terra Nostra' (1975) and Fernando del Paso’s 'Noticias del Imperio' (1978) belong to the group containing the postmodern historical novel. 'Terra Nostra' summarizes all the concerns of postmodernism and can be considered as a paradigm of this current of thought. 'Noticias del Imperio' seeks a reconciliation between history and literature in an attempt to get closer to the historical truth. Paco Ignacio Taibo II’s 'La lejanía del Tesoro' (1992) is a representative novel in the way it melds history with the mystery novel, developing the genre of the historical thriller. Lastly, Rosa Beltrán’s 'La corte de los ilusos' (1995), and in particular its treatment of history is pertinent to this thesis due to the fact that women have been traditionally silenced by official history. This novel gives them a voice.
From its beginnings, the historical novel confronted the problem of being questioned for its lack of accuracy when dealing with the past. This skepticism sparked a long lasting debate that initially degraded the historical novel as secondary genre that could never contribute to historical knowledge. However, as a result of recent theories that seek to defend the poetic nature of history, a theory developed initially by Hayden White, the recent historical novel has sought to debunk historiography’s claim to be the only possible way to recount the past. This thesis advances the theory that the recent historical novel in Mexico is the result of a search for a genuine identity, as well as a quest to develop an alternative, yet truthful, interpretation of a past whose true nature has been distorted by decades of historical officialdom. This process is seen in a context of increasing democratisation and globalisation.
2007-06-22T00:00:00ZRafael, LauraThis thesis sets out to investigate the development of the recent historical novel in Mexico by examining a corpus of five novels. Elena Garro’s 'Los recuerdos del porvenir' (1963) represents the final point of the novel of the Revolution and it is the link with the recent historical novel. Carlos Fuentes’ 'Terra Nostra' (1975) and Fernando del Paso’s 'Noticias del Imperio' (1978) belong to the group containing the postmodern historical novel. 'Terra Nostra' summarizes all the concerns of postmodernism and can be considered as a paradigm of this current of thought. 'Noticias del Imperio' seeks a reconciliation between history and literature in an attempt to get closer to the historical truth. Paco Ignacio Taibo II’s 'La lejanía del Tesoro' (1992) is a representative novel in the way it melds history with the mystery novel, developing the genre of the historical thriller. Lastly, Rosa Beltrán’s 'La corte de los ilusos' (1995), and in particular its treatment of history is pertinent to this thesis due to the fact that women have been traditionally silenced by official history. This novel gives them a voice.
From its beginnings, the historical novel confronted the problem of being questioned for its lack of accuracy when dealing with the past. This skepticism sparked a long lasting debate that initially degraded the historical novel as secondary genre that could never contribute to historical knowledge. However, as a result of recent theories that seek to defend the poetic nature of history, a theory developed initially by Hayden White, the recent historical novel has sought to debunk historiography’s claim to be the only possible way to recount the past. This thesis advances the theory that the recent historical novel in Mexico is the result of a search for a genuine identity, as well as a quest to develop an alternative, yet truthful, interpretation of a past whose true nature has been distorted by decades of historical officialdom. This process is seen in a context of increasing democratisation and globalisation.Visual representation in the work of Joseph Roth, 1923-1932Newman, Sigrid J.http://hdl.handle.net/10023/3172016-03-28T10:39:13Z2007-06-22T00:00:00ZThrough an examination of Joseph Roth’s reportage and fiction published between 1923 and 1932, this thesis seeks to provide a systematic analysis of a particular aspect of the author’s literary style, namely his use of sharply focused visual representations, which are termed Heuristic Visuals. Close textual analysis, supplemented by insights from reader-response theory, psychology, psycholinguistics and sociology illuminate the function of these visual representations. The thesis also seeks to discover whether there are significant differences and correspondences in the use of visual representations between the reportage and fiction genres. Roth believed that writers should be engagiert, and that the truth could only be arrived at through close observation of reality, not subordinated to theory. The research analyses the techniques by which Roth challenges his readers and encourages them to discover the truth for themselves. Three basic variants of Heuristic Visuals are identified, and their use in different contexts, including that of dialectical presentations, is explored. There is evidence of the use of different variants of Heuristic Visuals according to the respective rhetorical demands of particular thematic issues. It has also been possible to establish synchronic correspondences between the different genres, and diachronic correspondences within genres. Although there are examples within the reportage where the entire article is based on an Heuristic Visual, the use of Heuristic Visuals cannot be seen as a key organizing principle in Roth’s work as a whole. As his mastery of the technique reaches its highest point in the early 1930s, Heuristic Visuals are often incorporated into the reconstruction of a complete sensory experience. Analysis of Roth’s heuristic use of visual representations has led to important insights, including a reinterpretation of the endings of Roth’s two most famous novels: Hiob and Radetzkymarsch.
2007-06-22T00:00:00ZNewman, Sigrid J.Through an examination of Joseph Roth’s reportage and fiction published between 1923 and 1932, this thesis seeks to provide a systematic analysis of a particular aspect of the author’s literary style, namely his use of sharply focused visual representations, which are termed Heuristic Visuals. Close textual analysis, supplemented by insights from reader-response theory, psychology, psycholinguistics and sociology illuminate the function of these visual representations. The thesis also seeks to discover whether there are significant differences and correspondences in the use of visual representations between the reportage and fiction genres. Roth believed that writers should be engagiert, and that the truth could only be arrived at through close observation of reality, not subordinated to theory. The research analyses the techniques by which Roth challenges his readers and encourages them to discover the truth for themselves. Three basic variants of Heuristic Visuals are identified, and their use in different contexts, including that of dialectical presentations, is explored. There is evidence of the use of different variants of Heuristic Visuals according to the respective rhetorical demands of particular thematic issues. It has also been possible to establish synchronic correspondences between the different genres, and diachronic correspondences within genres. Although there are examples within the reportage where the entire article is based on an Heuristic Visual, the use of Heuristic Visuals cannot be seen as a key organizing principle in Roth’s work as a whole. As his mastery of the technique reaches its highest point in the early 1930s, Heuristic Visuals are often incorporated into the reconstruction of a complete sensory experience. Analysis of Roth’s heuristic use of visual representations has led to important insights, including a reinterpretation of the endings of Roth’s two most famous novels: Hiob and Radetzkymarsch.